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[ "Georg Cantor", "One-to-one correspondence", "What is one-to-one correspondence?", "He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment.", "What year was he doing his work on this?", "In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence", "What is Crelle's Journal?", "I don't know." ]
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How was his paper accepted?
4
How was Georg Cantor's paper accepted?
Georg Cantor
Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. CANNOTANSWER
This paper displeased Kronecker, and Cantor wanted to withdraw it;
Georg Ferdinand Ludwig Philipp Cantor ( , ;  – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of. Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian, believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications). The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder. The harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created." Life of Georg Cantor Youth and studies Georg Cantor was born in 1845 in the western merchant colony of Saint Petersburg, Russia, and brought up in the city until he was eleven. Cantor, the oldest of six children, was regarded as an outstanding violinist. His grandfather Franz Böhm (1788–1846) (the violinist Joseph Böhm's brother) was a well-known musician and soloist in a Russian imperial orchestra. Cantor's father had been a member of the Saint Petersburg stock exchange; when he became ill, the family moved to Germany in 1856, first to Wiesbaden, then to Frankfurt, seeking milder winters than those of Saint Petersburg. In 1860, Cantor graduated with distinction from the Realschule in Darmstadt; his exceptional skills in mathematics, trigonometry in particular, were noted. In August 1862, he then graduated from the "Höhere Gewerbeschule Darmstadt", now the Technische Universität Darmstadt. In 1862, Cantor entered the Swiss Federal Polytechnic. After receiving a substantial inheritance upon his father's death in June 1863, Cantor shifted his studies to the University of Berlin, attending lectures by Leopold Kronecker, Karl Weierstrass and Ernst Kummer. He spent the summer of 1866 at the University of Göttingen, then and later a center for mathematical research. Cantor was a good student, and he received his doctorate degree in 1867. Teacher and researcher Cantor submitted his dissertation on number theory at the University of Berlin in 1867. After teaching briefly in a Berlin girls' school, Cantor took up a position at the University of Halle, where he spent his entire career. He was awarded the requisite habilitation for his thesis, also on number theory, which he presented in 1869 upon his appointment at Halle University. In 1874, Cantor married Vally Guttmann. They had six children, the last (Rudolph) born in 1886. Cantor was able to support a family despite modest academic pay, thanks to his inheritance from his father. During his honeymoon in the Harz mountains, Cantor spent much time in mathematical discussions with Richard Dedekind, whom he had met two years earlier while on Swiss holiday. Cantor was promoted to extraordinary professor in 1872 and made full professor in 1879. To attain the latter rank at the age of 34 was a notable accomplishment, but Cantor desired a chair at a more prestigious university, in particular at Berlin, at that time the leading German university. However, his work encountered too much opposition for that to be possible. Kronecker, who headed mathematics at Berlin until his death in 1891, became increasingly uncomfortable with the prospect of having Cantor as a colleague, perceiving him as a "corrupter of youth" for teaching his ideas to a younger generation of mathematicians. Worse yet, Kronecker, a well-established figure within the mathematical community and Cantor's former professor, disagreed fundamentally with the thrust of Cantor's work ever since he intentionally delayed the publication of Cantor's first major publication in 1874. Kronecker, now seen as one of the founders of the constructive viewpoint in mathematics, disliked much of Cantor's set theory because it asserted the existence of sets satisfying certain properties, without giving specific examples of sets whose members did indeed satisfy those properties. Whenever Cantor applied for a post in Berlin, he was declined, and it usually involved Kronecker, so Cantor came to believe that Kronecker's stance would make it impossible for him ever to leave Halle. In 1881, Cantor's Halle colleague Eduard Heine died, creating a vacant chair. Halle accepted Cantor's suggestion that it be offered to Dedekind, Heinrich M. Weber and Franz Mertens, in that order, but each declined the chair after being offered it. Friedrich Wangerin was eventually appointed, but he was never close to Cantor. In 1882, the mathematical correspondence between Cantor and Dedekind came to an end, apparently as a result of Dedekind's declining the chair at Halle. Cantor also began another important correspondence, with Gösta Mittag-Leffler in Sweden, and soon began to publish in Mittag-Leffler's journal Acta Mathematica. But in 1885, Mittag-Leffler was concerned about the philosophical nature and new terminology in a paper Cantor had submitted to Acta. He asked Cantor to withdraw the paper from Acta while it was in proof, writing that it was "... about one hundred years too soon." Cantor complied, but then curtailed his relationship and correspondence with Mittag-Leffler, writing to a third party, "Had Mittag-Leffler had his way, I should have to wait until the year 1984, which to me seemed too great a demand! ... But of course I never want to know anything again about Acta Mathematica." Cantor suffered his first known bout of depression in May 1884. Criticism of his work weighed on his mind: every one of the fifty-two letters he wrote to Mittag-Leffler in 1884 mentioned Kronecker. A passage from one of these letters is revealing of the damage to Cantor's self-confidence: This crisis led him to apply to lecture on philosophy rather than mathematics. He also began an intense study of Elizabethan literature thinking there might be evidence that Francis Bacon wrote the plays attributed to William Shakespeare (see Shakespearean authorship question); this ultimately resulted in two pamphlets, published in 1896 and 1897. Cantor recovered soon thereafter, and subsequently made further important contributions, including his diagonal argument and theorem. However, he never again attained the high level of his remarkable papers of 1874–84, even after Kronecker's death on December 29, 1891. He eventually sought, and achieved, a reconciliation with Kronecker. Nevertheless, the philosophical disagreements and difficulties dividing them persisted. In 1889, Cantor was instrumental in founding the German Mathematical Society and chaired its first meeting in Halle in 1891, where he first introduced his diagonal argument; his reputation was strong enough, despite Kronecker's opposition to his work, to ensure he was elected as the first president of this society. Setting aside the animosity Kronecker had displayed towards him, Cantor invited him to address the meeting, but Kronecker was unable to do so because his wife was dying from injuries sustained in a skiing accident at the time. Georg Cantor was also instrumental in the establishment of the first International Congress of Mathematicians, which was held in Zürich, Switzerland, in 1897. Later years and death After Cantor's 1884 hospitalization, there is no record that he was in any sanatorium again until 1899. Soon after that second hospitalization, Cantor's youngest son Rudolph died suddenly on December 16 (Cantor was delivering a lecture on his views on Baconian theory and William Shakespeare), and this tragedy drained Cantor of much of his passion for mathematics. Cantor was again hospitalized in 1903. One year later, he was outraged and agitated by a paper presented by Julius König at the Third International Congress of Mathematicians. The paper attempted to prove that the basic tenets of transfinite set theory were false. Since the paper had been read in front of his daughters and colleagues, Cantor perceived himself as having been publicly humiliated. Although Ernst Zermelo demonstrated less than a day later that König's proof had failed, Cantor remained shaken, and momentarily questioning God. Cantor suffered from chronic depression for the rest of his life, for which he was excused from teaching on several occasions and repeatedly confined in various sanatoria. The events of 1904 preceded a series of hospitalizations at intervals of two or three years. He did not abandon mathematics completely, however, lecturing on the paradoxes of set theory (Burali-Forti paradox, Cantor's paradox, and Russell's paradox) to a meeting of the Deutsche Mathematiker-Vereinigung in 1903, and attending the International Congress of Mathematicians at Heidelberg in 1904. In 1911, Cantor was one of the distinguished foreign scholars invited to attend the 500th anniversary of the founding of the University of St. Andrews in Scotland. Cantor attended, hoping to meet Bertrand Russell, whose newly published Principia Mathematica repeatedly cited Cantor's work, but this did not come about. The following year, St. Andrews awarded Cantor an honorary doctorate, but illness precluded his receiving the degree in person. Cantor retired in 1913, living in poverty and suffering from malnourishment during World War I. The public celebration of his 70th birthday was canceled because of the war. In June 1917, he entered a sanatorium for the last time and continually wrote to his wife asking to be allowed to go home. Georg Cantor had a fatal heart attack on January 6, 1918, in the sanatorium where he had spent the last year of his life. Mathematical work Cantor's work between 1874 and 1884 is the origin of set theory. Prior to this work, the concept of a set was a rather elementary one that had been used implicitly since the beginning of mathematics, dating back to the ideas of Aristotle. No one had realized that set theory had any nontrivial content. Before Cantor, there were only finite sets (which are easy to understand) and "the infinite" (which was considered a topic for philosophical, rather than mathematical, discussion). By proving that there are (infinitely) many possible sizes for infinite sets, Cantor established that set theory was not trivial, and it needed to be studied. Set theory has come to play the role of a foundational theory in modern mathematics, in the sense that it interprets propositions about mathematical objects (for example, numbers and functions) from all the traditional areas of mathematics (such as algebra, analysis and topology) in a single theory, and provides a standard set of axioms to prove or disprove them. The basic concepts of set theory are now used throughout mathematics. In one of his earliest papers, Cantor proved that the set of real numbers is "more numerous" than the set of natural numbers; this showed, for the first time, that there exist infinite sets of different sizes. He was also the first to appreciate the importance of one-to-one correspondences (hereinafter denoted "1-to-1 correspondence") in set theory. He used this concept to define finite and infinite sets, subdividing the latter into denumerable (or countably infinite) sets and nondenumerable sets (uncountably infinite sets). Cantor developed important concepts in topology and their relation to cardinality. For example, he showed that the Cantor set, discovered by Henry John Stephen Smith in 1875, is nowhere dense, but has the same cardinality as the set of all real numbers, whereas the rationals are everywhere dense, but countable. He also showed that all countable dense linear orders without end points are order-isomorphic to the rational numbers. Cantor introduced fundamental constructions in set theory, such as the power set of a set A, which is the set of all possible subsets of A. He later proved that the size of the power set of A is strictly larger than the size of A, even when A is an infinite set; this result soon became known as Cantor's theorem. Cantor developed an entire theory and arithmetic of infinite sets, called cardinals and ordinals, which extended the arithmetic of the natural numbers. His notation for the cardinal numbers was the Hebrew letter (aleph) with a natural number subscript; for the ordinals he employed the Greek letter ω (omega). This notation is still in use today. The Continuum hypothesis, introduced by Cantor, was presented by David Hilbert as the first of his twenty-three open problems in his address at the 1900 International Congress of Mathematicians in Paris. Cantor's work also attracted favorable notice beyond Hilbert's celebrated encomium. The US philosopher Charles Sanders Peirce praised Cantor's set theory and, following public lectures delivered by Cantor at the first International Congress of Mathematicians, held in Zurich in 1897, Adolf Hurwitz and Jacques Hadamard also both expressed their admiration. At that Congress, Cantor renewed his friendship and correspondence with Dedekind. From 1905, Cantor corresponded with his British admirer and translator Philip Jourdain on the history of set theory and on Cantor's religious ideas. This was later published, as were several of his expository works. Number theory, trigonometric series and ordinals Cantor's first ten papers were on number theory, his thesis topic. At the suggestion of Eduard Heine, the Professor at Halle, Cantor turned to analysis. Heine proposed that Cantor solve an open problem that had eluded Peter Gustav Lejeune Dirichlet, Rudolf Lipschitz, Bernhard Riemann, and Heine himself: the uniqueness of the representation of a function by trigonometric series. Cantor solved this problem in 1869. It was while working on this problem that he discovered transfinite ordinals, which occurred as indices n in the nth derived set Sn of a set S of zeros of a trigonometric series. Given a trigonometric series f(x) with S as its set of zeros, Cantor had discovered a procedure that produced another trigonometric series that had S1 as its set of zeros, where S1 is the set of limit points of S. If Sk+1 is the set of limit points of Sk, then he could construct a trigonometric series whose zeros are Sk+1. Because the sets Sk were closed, they contained their limit points, and the intersection of the infinite decreasing sequence of sets S, S1, S2, S3,... formed a limit set, which we would now call Sω, and then he noticed that Sω would also have to have a set of limit points Sω+1, and so on. He had examples that went on forever, and so here was a naturally occurring infinite sequence of infinite numbers ω, ω + 1, ω + 2, ... Between 1870 and 1872, Cantor published more papers on trigonometric series, and also a paper defining irrational numbers as convergent sequences of rational numbers. Dedekind, whom Cantor befriended in 1872, cited this paper later that year, in the paper where he first set out his celebrated definition of real numbers by Dedekind cuts. While extending the notion of number by means of his revolutionary concept of infinite cardinality, Cantor was paradoxically opposed to theories of infinitesimals of his contemporaries Otto Stolz and Paul du Bois-Reymond, describing them as both "an abomination" and "a cholera bacillus of mathematics". Cantor also published an erroneous "proof" of the inconsistency of infinitesimals. Set theory The beginning of set theory as a branch of mathematics is often marked by the publication of Cantor's 1874 paper, "Ueber eine Eigenschaft des Inbegriffes aller reellen algebraischen Zahlen" ("On a Property of the Collection of All Real Algebraic Numbers"). This paper was the first to provide a rigorous proof that there was more than one kind of infinity. Previously, all infinite collections had been implicitly assumed to be equinumerous (that is, of "the same size" or having the same number of elements). Cantor proved that the collection of real numbers and the collection of positive integers are not equinumerous. In other words, the real numbers are not countable. His proof differs from the diagonal argument that he gave in 1891. Cantor's article also contains a new method of constructing transcendental numbers. Transcendental numbers were first constructed by Joseph Liouville in 1844. Cantor established these results using two constructions. His first construction shows how to write the real algebraic numbers as a sequence a1, a2, a3, .... In other words, the real algebraic numbers are countable. Cantor starts his second construction with any sequence of real numbers. Using this sequence, he constructs nested intervals whose intersection contains a real number not in the sequence. Since every sequence of real numbers can be used to construct a real not in the sequence, the real numbers cannot be written as a sequence – that is, the real numbers are not countable. By applying his construction to the sequence of real algebraic numbers, Cantor produces a transcendental number. Cantor points out that his constructions prove more – namely, they provide a new proof of Liouville's theorem: Every interval contains infinitely many transcendental numbers. Cantor's next article contains a construction that proves the set of transcendental numbers has the same "power" (see below) as the set of real numbers. Between 1879 and 1884, Cantor published a series of six articles in Mathematische Annalen that together formed an introduction to his set theory. At the same time, there was growing opposition to Cantor's ideas, led by Leopold Kronecker, who admitted mathematical concepts only if they could be constructed in a finite number of steps from the natural numbers, which he took as intuitively given. For Kronecker, Cantor's hierarchy of infinities was inadmissible, since accepting the concept of actual infinity would open the door to paradoxes which would challenge the validity of mathematics as a whole. Cantor also introduced the Cantor set during this period. The fifth paper in this series, "Grundlagen einer allgemeinen Mannigfaltigkeitslehre" ("Foundations of a General Theory of Aggregates"), published in 1883, was the most important of the six and was also published as a separate monograph. It contained Cantor's reply to his critics and showed how the transfinite numbers were a systematic extension of the natural numbers. It begins by defining well-ordered sets. Ordinal numbers are then introduced as the order types of well-ordered sets. Cantor then defines the addition and multiplication of the cardinal and ordinal numbers. In 1885, Cantor extended his theory of order types so that the ordinal numbers simply became a special case of order types. In 1891, he published a paper containing his elegant "diagonal argument" for the existence of an uncountable set. He applied the same idea to prove Cantor's theorem: the cardinality of the power set of a set A is strictly larger than the cardinality of A. This established the richness of the hierarchy of infinite sets, and of the cardinal and ordinal arithmetic that Cantor had defined. His argument is fundamental in the solution of the Halting problem and the proof of Gödel's first incompleteness theorem. Cantor wrote on the Goldbach conjecture in 1894. In 1895 and 1897, Cantor published a two-part paper in Mathematische Annalen under Felix Klein's editorship; these were his last significant papers on set theory. The first paper begins by defining set, subset, etc., in ways that would be largely acceptable now. The cardinal and ordinal arithmetic are reviewed. Cantor wanted the second paper to include a proof of the continuum hypothesis, but had to settle for expositing his theory of well-ordered sets and ordinal numbers. Cantor attempts to prove that if A and B are sets with A equivalent to a subset of B and B equivalent to a subset of A, then A and B are equivalent. Ernst Schröder had stated this theorem a bit earlier, but his proof, as well as Cantor's, was flawed. Felix Bernstein supplied a correct proof in his 1898 PhD thesis; hence the name Cantor–Bernstein–Schröder theorem. One-to-one correspondence Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Karl Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. Continuum hypothesis Cantor was the first to formulate what later came to be known as the continuum hypothesis or CH: there exists no set whose power is greater than that of the naturals and less than that of the reals (or equivalently, the cardinality of the reals is exactly aleph-one, rather than just at least aleph-one). Cantor believed the continuum hypothesis to be true and tried for many years to prove it, in vain. His inability to prove the continuum hypothesis caused him considerable anxiety. The difficulty Cantor had in proving the continuum hypothesis has been underscored by later developments in the field of mathematics: a 1940 result by Kurt Gödel and a 1963 one by Paul Cohen together imply that the continuum hypothesis can be neither proved nor disproved using standard Zermelo–Fraenkel set theory plus the axiom of choice (the combination referred to as "ZFC"). Absolute infinite, well-ordering theorem, and paradoxes In 1883, Cantor divided the infinite into the transfinite and the absolute. The transfinite is increasable in magnitude, while the absolute is unincreasable. For example, an ordinal α is transfinite because it can be increased to α + 1. On the other hand, the ordinals form an absolutely infinite sequence that cannot be increased in magnitude because there are no larger ordinals to add to it. In 1883, Cantor also introduced the well-ordering principle "every set can be well-ordered" and stated that it is a "law of thought". Cantor extended his work on the absolute infinite by using it in a proof. Around 1895, he began to regard his well-ordering principle as a theorem and attempted to prove it. In 1899, he sent Dedekind a proof of the equivalent aleph theorem: the cardinality of every infinite set is an aleph. First, he defined two types of multiplicities: consistent multiplicities (sets) and inconsistent multiplicities (absolutely infinite multiplicities). Next he assumed that the ordinals form a set, proved that this leads to a contradiction, and concluded that the ordinals form an inconsistent multiplicity. He used this inconsistent multiplicity to prove the aleph theorem. In 1932, Zermelo criticized the construction in Cantor's proof. Cantor avoided paradoxes by recognizing that there are two types of multiplicities. In his set theory, when it is assumed that the ordinals form a set, the resulting contradiction implies only that the ordinals form an inconsistent multiplicity. In contrast, Bertrand Russell treated all collections as sets, which leads to paradoxes. In Russell's set theory, the ordinals form a set, so the resulting contradiction implies that the theory is inconsistent. From 1901 to 1903, Russell discovered three paradoxes implying that his set theory is inconsistent: the Burali-Forti paradox (which was just mentioned), Cantor's paradox, and Russell's paradox. Russell named paradoxes after Cesare Burali-Forti and Cantor even though neither of them believed that they had found paradoxes. In 1908, Zermelo published his axiom system for set theory. He had two motivations for developing the axiom system: eliminating the paradoxes and securing his proof of the well-ordering theorem. Zermelo had proved this theorem in 1904 using the axiom of choice, but his proof was criticized for a variety of reasons. His response to the criticism included his axiom system and a new proof of the well-ordering theorem. His axioms support this new proof, and they eliminate the paradoxes by restricting the formation of sets. In 1923, John von Neumann developed an axiom system that eliminates the paradoxes by using an approach similar to Cantor's—namely, by identifying collections that are not sets and treating them differently. Von Neumann stated that a class is too big to be a set if it can be put into one-to-one correspondence with the class of all sets. He defined a set as a class that is a member of some class and stated the axiom: A class is not a set if and only if there is a one-to-one correspondence between it and the class of all sets. This axiom implies that these big classes are not sets, which eliminates the paradoxes since they cannot be members of any class. Von Neumann also used his axiom to prove the well-ordering theorem: Like Cantor, he assumed that the ordinals form a set. The resulting contradiction implies that the class of all ordinals is not a set. Then his axiom provides a one-to-one correspondence between this class and the class of all sets. This correspondence well-orders the class of all sets, which implies the well-ordering theorem. In 1930, Zermelo defined models of set theory that satisfy von Neumann's axiom. Philosophy, religion, literature and Cantor's mathematics The concept of the existence of an actual infinity was an important shared concern within the realms of mathematics, philosophy and religion. Preserving the orthodoxy of the relationship between God and mathematics, although not in the same form as held by his critics, was long a concern of Cantor's. He directly addressed this intersection between these disciplines in the introduction to his Grundlagen einer allgemeinen Mannigfaltigkeitslehre, where he stressed the connection between his view of the infinite and the philosophical one. To Cantor, his mathematical views were intrinsically linked to their philosophical and theological implications – he identified the Absolute Infinite with God, and he considered his work on transfinite numbers to have been directly communicated to him by God, who had chosen Cantor to reveal them to the world. He was a devout Lutheran whose explicit Christian beliefs shaped his philosophy of science. Joseph Dauben has traced the effect Cantor's Christian convictions had on the development of transfinite set theory. Debate among mathematicians grew out of opposing views in the philosophy of mathematics regarding the nature of actual infinity. Some held to the view that infinity was an abstraction which was not mathematically legitimate, and denied its existence. Mathematicians from three major schools of thought (constructivism and its two offshoots, intuitionism and finitism) opposed Cantor's theories in this matter. For constructivists such as Kronecker, this rejection of actual infinity stems from fundamental disagreement with the idea that nonconstructive proofs such as Cantor's diagonal argument are sufficient proof that something exists, holding instead that constructive proofs are required. Intuitionism also rejects the idea that actual infinity is an expression of any sort of reality, but arrive at the decision via a different route than constructivism. Firstly, Cantor's argument rests on logic to prove the existence of transfinite numbers as an actual mathematical entity, whereas intuitionists hold that mathematical entities cannot be reduced to logical propositions, originating instead in the intuitions of the mind. Secondly, the notion of infinity as an expression of reality is itself disallowed in intuitionism, since the human mind cannot intuitively construct an infinite set. Mathematicians such as L. E. J. Brouwer and especially Henri Poincaré adopted an intuitionist stance against Cantor's work. Finally, Wittgenstein's attacks were finitist: he believed that Cantor's diagonal argument conflated the intension of a set of cardinal or real numbers with its extension, thus conflating the concept of rules for generating a set with an actual set. Some Christian theologians saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God. In particular, neo-Thomist thinkers saw the existence of an actual infinity that consisted of something other than God as jeopardizing "God's exclusive claim to supreme infinity". Cantor strongly believed that this view was a misinterpretation of infinity, and was convinced that set theory could help correct this mistake: "... the transfinite species are just as much at the disposal of the intentions of the Creator and His absolute boundless will as are the finite numbers.". It is to note that prominent neo-scholastic german philosopher Constantin Gutberlet was in favor of such theory, holding that it didn't oppose the nature of God. Cantor also believed that his theory of transfinite numbers ran counter to both materialism and determinism – and was shocked when he realized that he was the only faculty member at Halle who did not hold to deterministic philosophical beliefs. It was important to Cantor that his philosophy provided an "organic explanation" of nature, and in his 1883 Grundlagen, he said that such an explanation could only come about by drawing on the resources of the philosophy of Spinoza and Leibniz. In making these claims, Cantor may have been influenced by FA Trendelenburg, whose lecture courses he attended at Berlin, and in turn Cantor produced a Latin commentary on Book 1 of Spinoza's Ethica. FA Trendelenburg was also the examiner of Cantor's Habilitationsschrift. In 1888, Cantor published his correspondence with several philosophers on the philosophical implications of his set theory. In an extensive attempt to persuade other Christian thinkers and authorities to adopt his views, Cantor had corresponded with Christian philosophers such as Tilman Pesch and Joseph Hontheim, as well as theologians such as Cardinal Johann Baptist Franzelin, who once replied by equating the theory of transfinite numbers with pantheism. Although later this Cardinal accepted the theory as valid, due to some clarifications from Cantor's. Cantor even sent one letter directly to Pope Leo XIII himself, and addressed several pamphlets to him. Cantor's philosophy on the nature of numbers led him to affirm a belief in the freedom of mathematics to posit and prove concepts apart from the realm of physical phenomena, as expressions within an internal reality. The only restrictions on this metaphysical system are that all mathematical concepts must be devoid of internal contradiction, and that they follow from existing definitions, axioms, and theorems. This belief is summarized in his assertion that "the essence of mathematics is its freedom." These ideas parallel those of Edmund Husserl, whom Cantor had met in Halle. Meanwhile, Cantor himself was fiercely opposed to infinitesimals, describing them as both an "abomination" and "the cholera bacillus of mathematics". Cantor's 1883 paper reveals that he was well aware of the opposition his ideas were encountering: "... I realize that in this undertaking I place myself in a certain opposition to views widely held concerning the mathematical infinite and to opinions frequently defended on the nature of numbers." Hence he devotes much space to justifying his earlier work, asserting that mathematical concepts may be freely introduced as long as they are free of contradiction and defined in terms of previously accepted concepts. He also cites Aristotle, René Descartes, George Berkeley, Gottfried Leibniz, and Bernard Bolzano on infinity. Instead, he always strongly rejected Kant's philosophy, in the realms of both the philosophy of mathematics and metaphysics. He shared B. Russell's motto "Kant or Cantor", and defined Kant "yonder sophistical Philistine who knew so little mathematics." Cantor's ancestry Cantor's paternal grandparents were from Copenhagen and fled to Russia from the disruption of the Napoleonic Wars. There is very little direct information on them. Cantor's father, Georg Waldemar Cantor, was educated in the Lutheran mission in Saint Petersburg, and his correspondence with his son shows both of them as devout Lutherans. Very little is known for sure about Georg Waldemar's origin or education. Cantor's mother, Maria Anna Böhm, was an Austro-Hungarian born in Saint Petersburg and baptized Roman Catholic; she converted to Protestantism upon marriage. However, there is a letter from Cantor's brother Louis to their mother, stating: ("Even if we were descended from Jews ten times over, and even though I may be, in principle, completely in favour of equal rights for Hebrews, in social life I prefer Christians...") which could be read to imply that she was of Jewish ancestry. According to biographers Eric Temple Bell, Cantor was of Jewish descent, although both parents were baptized. In a 1971 article entitled "Towards a Biography of Georg Cantor", the British historian of mathematics Ivor Grattan-Guinness mentions (Annals of Science 27, pp. 345–391, 1971) that he was unable to find evidence of Jewish ancestry. (He also states that Cantor's wife, Vally Guttmann, was Jewish). In a letter written to Paul Tannery in 1896 (Paul Tannery, Memoires Scientifique 13 Correspondence, Gauthier-Villars, Paris, 1934, p. 306), Cantor states that his paternal grandparents were members of the Sephardic Jewish community of Copenhagen. Specifically, Cantor states in describing his father: "Er ist aber in Kopenhagen geboren, von israelitischen Eltern, die der dortigen portugisischen Judengemeinde...." ("He was born in Copenhagen of Jewish (lit: 'Israelite') parents from the local Portuguese-Jewish community.") In addition, Cantor's maternal great uncle, a Hungarian violinist Josef Böhm, has been described as Jewish, which may imply that Cantor's mother was at least partly descended from the Hungarian Jewish community. In a letter to Bertrand Russell, Cantor described his ancestry and self-perception as follows: There were documented statements, during the 1930s, that called this Jewish ancestry into question: Biographies Until the 1970s, the chief academic publications on Cantor were two short monographs by Arthur Moritz Schönflies (1927) – largely the correspondence with Mittag-Leffler – and Fraenkel (1930). Both were at second and third hand; neither had much on his personal life. The gap was largely filled by Eric Temple Bell's Men of Mathematics (1937), which one of Cantor's modern biographers describes as "perhaps the most widely read modern book on the history of mathematics"; and as "one of the worst". Bell presents Cantor's relationship with his father as Oedipal, Cantor's differences with Kronecker as a quarrel between two Jews, and Cantor's madness as Romantic despair over his failure to win acceptance for his mathematics. Grattan-Guinness (1971) found that none of these claims were true, but they may be found in many books of the intervening period, owing to the absence of any other narrative. There are other legends, independent of Bell – including one that labels Cantor's father a foundling, shipped to Saint Petersburg by unknown parents. A critique of Bell's book is contained in Joseph Dauben's biography. Writes Dauben: See also Absolute Infinite Aleph number Cardinality of the continuum Cantor algebra Cantor cube Cantor distribution Cantor function Cantor medal – award by the Deutsche Mathematiker-Vereinigung in honor of Georg Cantor Cantor normal form theorem Cantor space Cantor tree surface Cantor's back-and-forth method Cantor's diagonal argument Cantor's intersection theorem Cantor's isomorphism theorem Cantor's first set theory article Cantor's paradox Cantor's theorem Cantor's leaky tent Cantor–Bendixson theorem Cantor–Dedekind axiom Cantor–Schröder–Bernstein Cantor–Bernstein theorem Cantor set Cardinal number Continuum hypothesis Countable set Derived set (mathematics) Epsilon numbers (mathematics) Factorial number system Heine–Cantor theorem Pairing function Smith–Volterra–Cantor set Transfinite number Notes References . . Internet version published in Journal of the ACMS 2004. Note, though, that Cantor's Latin quotation described in this article as a familiar passage from the Bible is actually from the works of Seneca and has no implication of divine revelation. . . . . . . . . . . Although the presentation is axiomatic rather than naive, Suppes proves and discusses many of Cantor's results, which demonstrates Cantor's continued importance for the edifice of foundational mathematics. . . . Bibliography Older sources on Cantor's life should be treated with caution. See section § Biographies above. Primary literature in English . Primary literature in German . Published separately as: Grundlagen einer allgemeinen Mannigfaltigkeitslehre. . Almost everything that Cantor wrote. Includes excerpts of his correspondence with Dedekind (p. 443–451) and Fraenkel's Cantor biography (p. 452–483) in the appendix. Secondary literature . . A popular treatment of infinity, in which Cantor is frequently mentioned. . Contains a detailed treatment of both Cantor's and Dedekind's contributions to set theory. . . Three chapters and 18 index entries on Cantor. Newstead, Anne (2009). "Cantor on Infinity in Nature, Number, and the Divine Mind", American Catholic Philosophical Quarterly, 83 (4): 532–553, https://doi.org/10.5840/acpq200983444. With acknowledgement of Dauben's pioneering historical work, this article further discusses Cantor's relation to the philosophy of Spinoza and Leibniz in depth, and his engagement in the Pantheismusstreit. Brief mention is made of Cantor's learning from F.A.Trendelenburg. . Chapter 16 illustrates how Cantorian thinking intrigues a leading contemporary theoretical physicist. . Deals with similar topics to Aczel, but in more depth. . Leonida Lazzari, L'infinito di Cantor. Editrice Pitagora, Bologna, 2008. External links Mainly devoted to Cantor's accomplishment. Stanford Encyclopedia of Philosophy: Set theory by Thomas Jech. The Early Development of Set Theory by José Ferreirós. "Cantor infinities", analysis of Cantor's 1874 article, BibNum (for English version, click 'à télécharger'). There is an error in this analysis. It states Cantor's Theorem 1 correctly: Algebraic numbers can be counted. However, it states his Theorem 2 incorrectly: Real numbers cannot be counted. It then says: "Cantor notes that, taken together, Theorems 1 and 2 allow for the redemonstration of the existence of non-algebraic real numbers …" This existence demonstration is non-constructive. Theorem 2 stated correctly is: Given a sequence of real numbers, one can determine a real number that is not in the sequence. Taken together, Theorem 1 and this Theorem 2 produce a non-algebraic number. Cantor also used Theorem 2 to prove that the real numbers cannot be counted. See Cantor's first set theory article or Georg Cantor and Transcendental Numbers. People from Saint Petersburg German logicians Set theorists 19th-century German writers 19th-century German male writers 20th-century German writers 19th-century German mathematicians 20th-century German mathematicians 19th-century philosophers 20th-century German philosophers Martin Luther University of Halle-Wittenberg faculty ETH Zurich alumni German Lutherans People with bipolar disorder Baltic-German people 1845 births 1918 deaths Technische Universität Darmstadt alumni
false
[ "Ham-Mihan () was a reformist daily newspaper in Tehran, Iran. It was in circulation between 2000 and 2009.\n\nHistory and profile\nIn January 2000 Gholamhossein Karbaschi, former mayor of Tehran, established Ham Mihan after he was released from prison. He also ran the paper and was its managing editor.\n\nThe chief editor of Ham-Mihan was Mohammad Ghouchani. Mohammad Atrianfar served as the policy director of the paper which was based in Tehran.\n\nThe paper backed Akbar Hashemi Rafsanjani in the presidential elections held in 2005. It was temporarily closed in May 2000 and in July 2007 by a court in Tehran. The paper was relaunched in 2009, but was suspended in July 2009.\n\nIn September 2013, Karbaschi petitioned the Ministry of Culture and Islamic Guidance to lift the ban on publication and his request was accepted. However, the publication license was not granted.\n\nSee also\nList of newspapers in Iran\n\nReferences\n\n2000 establishments in Iran\n2009 disestablishments in Iran\nCensorship in Iran\nDefunct newspapers published in Iran\nNewspapers published in Tehran\nPersian-language newspapers\nNewspapers established in 2000\nPublications disestablished in 2009", "Ethan Bronner (born 1954) is a senior editor at Bloomberg News following 17 years at The New York Times, most recently as deputy national editor.\n\nBiography\nBronner is a graduate of Wesleyan University's College of Letters and the Columbia University Graduate School of Journalism. He began his journalistic career at Reuters in 1980, reporting from London, Madrid, Brussels and Jerusalem. From 1985 until 1997, he worked for The Boston Globe. He started as a general assignment and urban affairs reporter. He went on to be the paper's Supreme Court and legal affairs correspondent in Washington, D.C. and then its Middle East correspondent, based in Jerusalem.\n\nHe then accepted a position with The New York Times, where he was the paper's national education correspondent from 1997 to 1999 and its education editor from 1999 to 2001. In 2001, he transferred to the paper's investigative unit which focused on the September 11 attacks. A series of articles on al Qaeda that Bronner helped edit during that time was awarded the 2001 Pulitzer Prize for explanatory journalism. He then served as assistant editorial page editor and in 2004, he became its deputy foreign editor. From 2008 to 2012 he was The Times Jerusalem bureau chief. In 2010, Electronic Intifada publicly revealed that Bronner's son was serving in the IDF as Bronner was covering the Israeli–Palestinian conflict, raising questions of bias and conflict of interest in his work. In December 2011, Bronner resigned from his role. In 2012, he spent a year as the NYT's national legal reporter, then became its deputy national editor. In 2015, he accepted a position as senior editor at Bloomberg News where he edits and writes investigative and analytic articles dealing mostly with international affairs.\n\nBronner is the author of Battle for Justice: How the Bork Nomination Shook America (Norton, 1989), which was chosen by The New York Public Library as one of the 25 best books of 1989.\n\nPersonal\nBronner and his wife Naomi Kehati, an Israeli-born psychologist, live near New York. They have two sons, Eli and Gabriel. His son served in the Israel Defense Forces.\n\nBibliography\n Battle for Justice: How the Bork Nomination Shook America. New York: W.W. Norton & Co., 1989.\n\nReferences\n\nExternal links\n Archived articles at The New York Times\n Archived articles at Bloomberg\n \n \n \n \n\nThe New York Times editors\nThe New York Times writers\nAmerican investigative journalists\nJewish American journalists\nLiving people\n1954 births\nColumbia University Graduate School of Journalism alumni\nWesleyan University alumni\nThe Boston Globe people\n20th-century American journalists\nAmerican male journalists\n21st-century American Jews" ]
[ "Georg Cantor", "One-to-one correspondence", "What is one-to-one correspondence?", "He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment.", "What year was he doing his work on this?", "In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence", "What is Crelle's Journal?", "I don't know.", "How was his paper accepted?", "This paper displeased Kronecker, and Cantor wanted to withdraw it;" ]
C_002fb3e375d742f8ae31096aef44fc19_0
Why did it displease Kronecker?
5
Why did Georg Cantor's paper displease Kronecker?
Georg Cantor
Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. CANNOTANSWER
CANNOTANSWER
Georg Ferdinand Ludwig Philipp Cantor ( , ;  – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of. Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian, believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications). The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder. The harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created." Life of Georg Cantor Youth and studies Georg Cantor was born in 1845 in the western merchant colony of Saint Petersburg, Russia, and brought up in the city until he was eleven. Cantor, the oldest of six children, was regarded as an outstanding violinist. His grandfather Franz Böhm (1788–1846) (the violinist Joseph Böhm's brother) was a well-known musician and soloist in a Russian imperial orchestra. Cantor's father had been a member of the Saint Petersburg stock exchange; when he became ill, the family moved to Germany in 1856, first to Wiesbaden, then to Frankfurt, seeking milder winters than those of Saint Petersburg. In 1860, Cantor graduated with distinction from the Realschule in Darmstadt; his exceptional skills in mathematics, trigonometry in particular, were noted. In August 1862, he then graduated from the "Höhere Gewerbeschule Darmstadt", now the Technische Universität Darmstadt. In 1862, Cantor entered the Swiss Federal Polytechnic. After receiving a substantial inheritance upon his father's death in June 1863, Cantor shifted his studies to the University of Berlin, attending lectures by Leopold Kronecker, Karl Weierstrass and Ernst Kummer. He spent the summer of 1866 at the University of Göttingen, then and later a center for mathematical research. Cantor was a good student, and he received his doctorate degree in 1867. Teacher and researcher Cantor submitted his dissertation on number theory at the University of Berlin in 1867. After teaching briefly in a Berlin girls' school, Cantor took up a position at the University of Halle, where he spent his entire career. He was awarded the requisite habilitation for his thesis, also on number theory, which he presented in 1869 upon his appointment at Halle University. In 1874, Cantor married Vally Guttmann. They had six children, the last (Rudolph) born in 1886. Cantor was able to support a family despite modest academic pay, thanks to his inheritance from his father. During his honeymoon in the Harz mountains, Cantor spent much time in mathematical discussions with Richard Dedekind, whom he had met two years earlier while on Swiss holiday. Cantor was promoted to extraordinary professor in 1872 and made full professor in 1879. To attain the latter rank at the age of 34 was a notable accomplishment, but Cantor desired a chair at a more prestigious university, in particular at Berlin, at that time the leading German university. However, his work encountered too much opposition for that to be possible. Kronecker, who headed mathematics at Berlin until his death in 1891, became increasingly uncomfortable with the prospect of having Cantor as a colleague, perceiving him as a "corrupter of youth" for teaching his ideas to a younger generation of mathematicians. Worse yet, Kronecker, a well-established figure within the mathematical community and Cantor's former professor, disagreed fundamentally with the thrust of Cantor's work ever since he intentionally delayed the publication of Cantor's first major publication in 1874. Kronecker, now seen as one of the founders of the constructive viewpoint in mathematics, disliked much of Cantor's set theory because it asserted the existence of sets satisfying certain properties, without giving specific examples of sets whose members did indeed satisfy those properties. Whenever Cantor applied for a post in Berlin, he was declined, and it usually involved Kronecker, so Cantor came to believe that Kronecker's stance would make it impossible for him ever to leave Halle. In 1881, Cantor's Halle colleague Eduard Heine died, creating a vacant chair. Halle accepted Cantor's suggestion that it be offered to Dedekind, Heinrich M. Weber and Franz Mertens, in that order, but each declined the chair after being offered it. Friedrich Wangerin was eventually appointed, but he was never close to Cantor. In 1882, the mathematical correspondence between Cantor and Dedekind came to an end, apparently as a result of Dedekind's declining the chair at Halle. Cantor also began another important correspondence, with Gösta Mittag-Leffler in Sweden, and soon began to publish in Mittag-Leffler's journal Acta Mathematica. But in 1885, Mittag-Leffler was concerned about the philosophical nature and new terminology in a paper Cantor had submitted to Acta. He asked Cantor to withdraw the paper from Acta while it was in proof, writing that it was "... about one hundred years too soon." Cantor complied, but then curtailed his relationship and correspondence with Mittag-Leffler, writing to a third party, "Had Mittag-Leffler had his way, I should have to wait until the year 1984, which to me seemed too great a demand! ... But of course I never want to know anything again about Acta Mathematica." Cantor suffered his first known bout of depression in May 1884. Criticism of his work weighed on his mind: every one of the fifty-two letters he wrote to Mittag-Leffler in 1884 mentioned Kronecker. A passage from one of these letters is revealing of the damage to Cantor's self-confidence: This crisis led him to apply to lecture on philosophy rather than mathematics. He also began an intense study of Elizabethan literature thinking there might be evidence that Francis Bacon wrote the plays attributed to William Shakespeare (see Shakespearean authorship question); this ultimately resulted in two pamphlets, published in 1896 and 1897. Cantor recovered soon thereafter, and subsequently made further important contributions, including his diagonal argument and theorem. However, he never again attained the high level of his remarkable papers of 1874–84, even after Kronecker's death on December 29, 1891. He eventually sought, and achieved, a reconciliation with Kronecker. Nevertheless, the philosophical disagreements and difficulties dividing them persisted. In 1889, Cantor was instrumental in founding the German Mathematical Society and chaired its first meeting in Halle in 1891, where he first introduced his diagonal argument; his reputation was strong enough, despite Kronecker's opposition to his work, to ensure he was elected as the first president of this society. Setting aside the animosity Kronecker had displayed towards him, Cantor invited him to address the meeting, but Kronecker was unable to do so because his wife was dying from injuries sustained in a skiing accident at the time. Georg Cantor was also instrumental in the establishment of the first International Congress of Mathematicians, which was held in Zürich, Switzerland, in 1897. Later years and death After Cantor's 1884 hospitalization, there is no record that he was in any sanatorium again until 1899. Soon after that second hospitalization, Cantor's youngest son Rudolph died suddenly on December 16 (Cantor was delivering a lecture on his views on Baconian theory and William Shakespeare), and this tragedy drained Cantor of much of his passion for mathematics. Cantor was again hospitalized in 1903. One year later, he was outraged and agitated by a paper presented by Julius König at the Third International Congress of Mathematicians. The paper attempted to prove that the basic tenets of transfinite set theory were false. Since the paper had been read in front of his daughters and colleagues, Cantor perceived himself as having been publicly humiliated. Although Ernst Zermelo demonstrated less than a day later that König's proof had failed, Cantor remained shaken, and momentarily questioning God. Cantor suffered from chronic depression for the rest of his life, for which he was excused from teaching on several occasions and repeatedly confined in various sanatoria. The events of 1904 preceded a series of hospitalizations at intervals of two or three years. He did not abandon mathematics completely, however, lecturing on the paradoxes of set theory (Burali-Forti paradox, Cantor's paradox, and Russell's paradox) to a meeting of the Deutsche Mathematiker-Vereinigung in 1903, and attending the International Congress of Mathematicians at Heidelberg in 1904. In 1911, Cantor was one of the distinguished foreign scholars invited to attend the 500th anniversary of the founding of the University of St. Andrews in Scotland. Cantor attended, hoping to meet Bertrand Russell, whose newly published Principia Mathematica repeatedly cited Cantor's work, but this did not come about. The following year, St. Andrews awarded Cantor an honorary doctorate, but illness precluded his receiving the degree in person. Cantor retired in 1913, living in poverty and suffering from malnourishment during World War I. The public celebration of his 70th birthday was canceled because of the war. In June 1917, he entered a sanatorium for the last time and continually wrote to his wife asking to be allowed to go home. Georg Cantor had a fatal heart attack on January 6, 1918, in the sanatorium where he had spent the last year of his life. Mathematical work Cantor's work between 1874 and 1884 is the origin of set theory. Prior to this work, the concept of a set was a rather elementary one that had been used implicitly since the beginning of mathematics, dating back to the ideas of Aristotle. No one had realized that set theory had any nontrivial content. Before Cantor, there were only finite sets (which are easy to understand) and "the infinite" (which was considered a topic for philosophical, rather than mathematical, discussion). By proving that there are (infinitely) many possible sizes for infinite sets, Cantor established that set theory was not trivial, and it needed to be studied. Set theory has come to play the role of a foundational theory in modern mathematics, in the sense that it interprets propositions about mathematical objects (for example, numbers and functions) from all the traditional areas of mathematics (such as algebra, analysis and topology) in a single theory, and provides a standard set of axioms to prove or disprove them. The basic concepts of set theory are now used throughout mathematics. In one of his earliest papers, Cantor proved that the set of real numbers is "more numerous" than the set of natural numbers; this showed, for the first time, that there exist infinite sets of different sizes. He was also the first to appreciate the importance of one-to-one correspondences (hereinafter denoted "1-to-1 correspondence") in set theory. He used this concept to define finite and infinite sets, subdividing the latter into denumerable (or countably infinite) sets and nondenumerable sets (uncountably infinite sets). Cantor developed important concepts in topology and their relation to cardinality. For example, he showed that the Cantor set, discovered by Henry John Stephen Smith in 1875, is nowhere dense, but has the same cardinality as the set of all real numbers, whereas the rationals are everywhere dense, but countable. He also showed that all countable dense linear orders without end points are order-isomorphic to the rational numbers. Cantor introduced fundamental constructions in set theory, such as the power set of a set A, which is the set of all possible subsets of A. He later proved that the size of the power set of A is strictly larger than the size of A, even when A is an infinite set; this result soon became known as Cantor's theorem. Cantor developed an entire theory and arithmetic of infinite sets, called cardinals and ordinals, which extended the arithmetic of the natural numbers. His notation for the cardinal numbers was the Hebrew letter (aleph) with a natural number subscript; for the ordinals he employed the Greek letter ω (omega). This notation is still in use today. The Continuum hypothesis, introduced by Cantor, was presented by David Hilbert as the first of his twenty-three open problems in his address at the 1900 International Congress of Mathematicians in Paris. Cantor's work also attracted favorable notice beyond Hilbert's celebrated encomium. The US philosopher Charles Sanders Peirce praised Cantor's set theory and, following public lectures delivered by Cantor at the first International Congress of Mathematicians, held in Zurich in 1897, Adolf Hurwitz and Jacques Hadamard also both expressed their admiration. At that Congress, Cantor renewed his friendship and correspondence with Dedekind. From 1905, Cantor corresponded with his British admirer and translator Philip Jourdain on the history of set theory and on Cantor's religious ideas. This was later published, as were several of his expository works. Number theory, trigonometric series and ordinals Cantor's first ten papers were on number theory, his thesis topic. At the suggestion of Eduard Heine, the Professor at Halle, Cantor turned to analysis. Heine proposed that Cantor solve an open problem that had eluded Peter Gustav Lejeune Dirichlet, Rudolf Lipschitz, Bernhard Riemann, and Heine himself: the uniqueness of the representation of a function by trigonometric series. Cantor solved this problem in 1869. It was while working on this problem that he discovered transfinite ordinals, which occurred as indices n in the nth derived set Sn of a set S of zeros of a trigonometric series. Given a trigonometric series f(x) with S as its set of zeros, Cantor had discovered a procedure that produced another trigonometric series that had S1 as its set of zeros, where S1 is the set of limit points of S. If Sk+1 is the set of limit points of Sk, then he could construct a trigonometric series whose zeros are Sk+1. Because the sets Sk were closed, they contained their limit points, and the intersection of the infinite decreasing sequence of sets S, S1, S2, S3,... formed a limit set, which we would now call Sω, and then he noticed that Sω would also have to have a set of limit points Sω+1, and so on. He had examples that went on forever, and so here was a naturally occurring infinite sequence of infinite numbers ω, ω + 1, ω + 2, ... Between 1870 and 1872, Cantor published more papers on trigonometric series, and also a paper defining irrational numbers as convergent sequences of rational numbers. Dedekind, whom Cantor befriended in 1872, cited this paper later that year, in the paper where he first set out his celebrated definition of real numbers by Dedekind cuts. While extending the notion of number by means of his revolutionary concept of infinite cardinality, Cantor was paradoxically opposed to theories of infinitesimals of his contemporaries Otto Stolz and Paul du Bois-Reymond, describing them as both "an abomination" and "a cholera bacillus of mathematics". Cantor also published an erroneous "proof" of the inconsistency of infinitesimals. Set theory The beginning of set theory as a branch of mathematics is often marked by the publication of Cantor's 1874 paper, "Ueber eine Eigenschaft des Inbegriffes aller reellen algebraischen Zahlen" ("On a Property of the Collection of All Real Algebraic Numbers"). This paper was the first to provide a rigorous proof that there was more than one kind of infinity. Previously, all infinite collections had been implicitly assumed to be equinumerous (that is, of "the same size" or having the same number of elements). Cantor proved that the collection of real numbers and the collection of positive integers are not equinumerous. In other words, the real numbers are not countable. His proof differs from the diagonal argument that he gave in 1891. Cantor's article also contains a new method of constructing transcendental numbers. Transcendental numbers were first constructed by Joseph Liouville in 1844. Cantor established these results using two constructions. His first construction shows how to write the real algebraic numbers as a sequence a1, a2, a3, .... In other words, the real algebraic numbers are countable. Cantor starts his second construction with any sequence of real numbers. Using this sequence, he constructs nested intervals whose intersection contains a real number not in the sequence. Since every sequence of real numbers can be used to construct a real not in the sequence, the real numbers cannot be written as a sequence – that is, the real numbers are not countable. By applying his construction to the sequence of real algebraic numbers, Cantor produces a transcendental number. Cantor points out that his constructions prove more – namely, they provide a new proof of Liouville's theorem: Every interval contains infinitely many transcendental numbers. Cantor's next article contains a construction that proves the set of transcendental numbers has the same "power" (see below) as the set of real numbers. Between 1879 and 1884, Cantor published a series of six articles in Mathematische Annalen that together formed an introduction to his set theory. At the same time, there was growing opposition to Cantor's ideas, led by Leopold Kronecker, who admitted mathematical concepts only if they could be constructed in a finite number of steps from the natural numbers, which he took as intuitively given. For Kronecker, Cantor's hierarchy of infinities was inadmissible, since accepting the concept of actual infinity would open the door to paradoxes which would challenge the validity of mathematics as a whole. Cantor also introduced the Cantor set during this period. The fifth paper in this series, "Grundlagen einer allgemeinen Mannigfaltigkeitslehre" ("Foundations of a General Theory of Aggregates"), published in 1883, was the most important of the six and was also published as a separate monograph. It contained Cantor's reply to his critics and showed how the transfinite numbers were a systematic extension of the natural numbers. It begins by defining well-ordered sets. Ordinal numbers are then introduced as the order types of well-ordered sets. Cantor then defines the addition and multiplication of the cardinal and ordinal numbers. In 1885, Cantor extended his theory of order types so that the ordinal numbers simply became a special case of order types. In 1891, he published a paper containing his elegant "diagonal argument" for the existence of an uncountable set. He applied the same idea to prove Cantor's theorem: the cardinality of the power set of a set A is strictly larger than the cardinality of A. This established the richness of the hierarchy of infinite sets, and of the cardinal and ordinal arithmetic that Cantor had defined. His argument is fundamental in the solution of the Halting problem and the proof of Gödel's first incompleteness theorem. Cantor wrote on the Goldbach conjecture in 1894. In 1895 and 1897, Cantor published a two-part paper in Mathematische Annalen under Felix Klein's editorship; these were his last significant papers on set theory. The first paper begins by defining set, subset, etc., in ways that would be largely acceptable now. The cardinal and ordinal arithmetic are reviewed. Cantor wanted the second paper to include a proof of the continuum hypothesis, but had to settle for expositing his theory of well-ordered sets and ordinal numbers. Cantor attempts to prove that if A and B are sets with A equivalent to a subset of B and B equivalent to a subset of A, then A and B are equivalent. Ernst Schröder had stated this theorem a bit earlier, but his proof, as well as Cantor's, was flawed. Felix Bernstein supplied a correct proof in his 1898 PhD thesis; hence the name Cantor–Bernstein–Schröder theorem. One-to-one correspondence Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Karl Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. Continuum hypothesis Cantor was the first to formulate what later came to be known as the continuum hypothesis or CH: there exists no set whose power is greater than that of the naturals and less than that of the reals (or equivalently, the cardinality of the reals is exactly aleph-one, rather than just at least aleph-one). Cantor believed the continuum hypothesis to be true and tried for many years to prove it, in vain. His inability to prove the continuum hypothesis caused him considerable anxiety. The difficulty Cantor had in proving the continuum hypothesis has been underscored by later developments in the field of mathematics: a 1940 result by Kurt Gödel and a 1963 one by Paul Cohen together imply that the continuum hypothesis can be neither proved nor disproved using standard Zermelo–Fraenkel set theory plus the axiom of choice (the combination referred to as "ZFC"). Absolute infinite, well-ordering theorem, and paradoxes In 1883, Cantor divided the infinite into the transfinite and the absolute. The transfinite is increasable in magnitude, while the absolute is unincreasable. For example, an ordinal α is transfinite because it can be increased to α + 1. On the other hand, the ordinals form an absolutely infinite sequence that cannot be increased in magnitude because there are no larger ordinals to add to it. In 1883, Cantor also introduced the well-ordering principle "every set can be well-ordered" and stated that it is a "law of thought". Cantor extended his work on the absolute infinite by using it in a proof. Around 1895, he began to regard his well-ordering principle as a theorem and attempted to prove it. In 1899, he sent Dedekind a proof of the equivalent aleph theorem: the cardinality of every infinite set is an aleph. First, he defined two types of multiplicities: consistent multiplicities (sets) and inconsistent multiplicities (absolutely infinite multiplicities). Next he assumed that the ordinals form a set, proved that this leads to a contradiction, and concluded that the ordinals form an inconsistent multiplicity. He used this inconsistent multiplicity to prove the aleph theorem. In 1932, Zermelo criticized the construction in Cantor's proof. Cantor avoided paradoxes by recognizing that there are two types of multiplicities. In his set theory, when it is assumed that the ordinals form a set, the resulting contradiction implies only that the ordinals form an inconsistent multiplicity. In contrast, Bertrand Russell treated all collections as sets, which leads to paradoxes. In Russell's set theory, the ordinals form a set, so the resulting contradiction implies that the theory is inconsistent. From 1901 to 1903, Russell discovered three paradoxes implying that his set theory is inconsistent: the Burali-Forti paradox (which was just mentioned), Cantor's paradox, and Russell's paradox. Russell named paradoxes after Cesare Burali-Forti and Cantor even though neither of them believed that they had found paradoxes. In 1908, Zermelo published his axiom system for set theory. He had two motivations for developing the axiom system: eliminating the paradoxes and securing his proof of the well-ordering theorem. Zermelo had proved this theorem in 1904 using the axiom of choice, but his proof was criticized for a variety of reasons. His response to the criticism included his axiom system and a new proof of the well-ordering theorem. His axioms support this new proof, and they eliminate the paradoxes by restricting the formation of sets. In 1923, John von Neumann developed an axiom system that eliminates the paradoxes by using an approach similar to Cantor's—namely, by identifying collections that are not sets and treating them differently. Von Neumann stated that a class is too big to be a set if it can be put into one-to-one correspondence with the class of all sets. He defined a set as a class that is a member of some class and stated the axiom: A class is not a set if and only if there is a one-to-one correspondence between it and the class of all sets. This axiom implies that these big classes are not sets, which eliminates the paradoxes since they cannot be members of any class. Von Neumann also used his axiom to prove the well-ordering theorem: Like Cantor, he assumed that the ordinals form a set. The resulting contradiction implies that the class of all ordinals is not a set. Then his axiom provides a one-to-one correspondence between this class and the class of all sets. This correspondence well-orders the class of all sets, which implies the well-ordering theorem. In 1930, Zermelo defined models of set theory that satisfy von Neumann's axiom. Philosophy, religion, literature and Cantor's mathematics The concept of the existence of an actual infinity was an important shared concern within the realms of mathematics, philosophy and religion. Preserving the orthodoxy of the relationship between God and mathematics, although not in the same form as held by his critics, was long a concern of Cantor's. He directly addressed this intersection between these disciplines in the introduction to his Grundlagen einer allgemeinen Mannigfaltigkeitslehre, where he stressed the connection between his view of the infinite and the philosophical one. To Cantor, his mathematical views were intrinsically linked to their philosophical and theological implications – he identified the Absolute Infinite with God, and he considered his work on transfinite numbers to have been directly communicated to him by God, who had chosen Cantor to reveal them to the world. He was a devout Lutheran whose explicit Christian beliefs shaped his philosophy of science. Joseph Dauben has traced the effect Cantor's Christian convictions had on the development of transfinite set theory. Debate among mathematicians grew out of opposing views in the philosophy of mathematics regarding the nature of actual infinity. Some held to the view that infinity was an abstraction which was not mathematically legitimate, and denied its existence. Mathematicians from three major schools of thought (constructivism and its two offshoots, intuitionism and finitism) opposed Cantor's theories in this matter. For constructivists such as Kronecker, this rejection of actual infinity stems from fundamental disagreement with the idea that nonconstructive proofs such as Cantor's diagonal argument are sufficient proof that something exists, holding instead that constructive proofs are required. Intuitionism also rejects the idea that actual infinity is an expression of any sort of reality, but arrive at the decision via a different route than constructivism. Firstly, Cantor's argument rests on logic to prove the existence of transfinite numbers as an actual mathematical entity, whereas intuitionists hold that mathematical entities cannot be reduced to logical propositions, originating instead in the intuitions of the mind. Secondly, the notion of infinity as an expression of reality is itself disallowed in intuitionism, since the human mind cannot intuitively construct an infinite set. Mathematicians such as L. E. J. Brouwer and especially Henri Poincaré adopted an intuitionist stance against Cantor's work. Finally, Wittgenstein's attacks were finitist: he believed that Cantor's diagonal argument conflated the intension of a set of cardinal or real numbers with its extension, thus conflating the concept of rules for generating a set with an actual set. Some Christian theologians saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God. In particular, neo-Thomist thinkers saw the existence of an actual infinity that consisted of something other than God as jeopardizing "God's exclusive claim to supreme infinity". Cantor strongly believed that this view was a misinterpretation of infinity, and was convinced that set theory could help correct this mistake: "... the transfinite species are just as much at the disposal of the intentions of the Creator and His absolute boundless will as are the finite numbers.". It is to note that prominent neo-scholastic german philosopher Constantin Gutberlet was in favor of such theory, holding that it didn't oppose the nature of God. Cantor also believed that his theory of transfinite numbers ran counter to both materialism and determinism – and was shocked when he realized that he was the only faculty member at Halle who did not hold to deterministic philosophical beliefs. It was important to Cantor that his philosophy provided an "organic explanation" of nature, and in his 1883 Grundlagen, he said that such an explanation could only come about by drawing on the resources of the philosophy of Spinoza and Leibniz. In making these claims, Cantor may have been influenced by FA Trendelenburg, whose lecture courses he attended at Berlin, and in turn Cantor produced a Latin commentary on Book 1 of Spinoza's Ethica. FA Trendelenburg was also the examiner of Cantor's Habilitationsschrift. In 1888, Cantor published his correspondence with several philosophers on the philosophical implications of his set theory. In an extensive attempt to persuade other Christian thinkers and authorities to adopt his views, Cantor had corresponded with Christian philosophers such as Tilman Pesch and Joseph Hontheim, as well as theologians such as Cardinal Johann Baptist Franzelin, who once replied by equating the theory of transfinite numbers with pantheism. Although later this Cardinal accepted the theory as valid, due to some clarifications from Cantor's. Cantor even sent one letter directly to Pope Leo XIII himself, and addressed several pamphlets to him. Cantor's philosophy on the nature of numbers led him to affirm a belief in the freedom of mathematics to posit and prove concepts apart from the realm of physical phenomena, as expressions within an internal reality. The only restrictions on this metaphysical system are that all mathematical concepts must be devoid of internal contradiction, and that they follow from existing definitions, axioms, and theorems. This belief is summarized in his assertion that "the essence of mathematics is its freedom." These ideas parallel those of Edmund Husserl, whom Cantor had met in Halle. Meanwhile, Cantor himself was fiercely opposed to infinitesimals, describing them as both an "abomination" and "the cholera bacillus of mathematics". Cantor's 1883 paper reveals that he was well aware of the opposition his ideas were encountering: "... I realize that in this undertaking I place myself in a certain opposition to views widely held concerning the mathematical infinite and to opinions frequently defended on the nature of numbers." Hence he devotes much space to justifying his earlier work, asserting that mathematical concepts may be freely introduced as long as they are free of contradiction and defined in terms of previously accepted concepts. He also cites Aristotle, René Descartes, George Berkeley, Gottfried Leibniz, and Bernard Bolzano on infinity. Instead, he always strongly rejected Kant's philosophy, in the realms of both the philosophy of mathematics and metaphysics. He shared B. Russell's motto "Kant or Cantor", and defined Kant "yonder sophistical Philistine who knew so little mathematics." Cantor's ancestry Cantor's paternal grandparents were from Copenhagen and fled to Russia from the disruption of the Napoleonic Wars. There is very little direct information on them. Cantor's father, Georg Waldemar Cantor, was educated in the Lutheran mission in Saint Petersburg, and his correspondence with his son shows both of them as devout Lutherans. Very little is known for sure about Georg Waldemar's origin or education. Cantor's mother, Maria Anna Böhm, was an Austro-Hungarian born in Saint Petersburg and baptized Roman Catholic; she converted to Protestantism upon marriage. However, there is a letter from Cantor's brother Louis to their mother, stating: ("Even if we were descended from Jews ten times over, and even though I may be, in principle, completely in favour of equal rights for Hebrews, in social life I prefer Christians...") which could be read to imply that she was of Jewish ancestry. According to biographers Eric Temple Bell, Cantor was of Jewish descent, although both parents were baptized. In a 1971 article entitled "Towards a Biography of Georg Cantor", the British historian of mathematics Ivor Grattan-Guinness mentions (Annals of Science 27, pp. 345–391, 1971) that he was unable to find evidence of Jewish ancestry. (He also states that Cantor's wife, Vally Guttmann, was Jewish). In a letter written to Paul Tannery in 1896 (Paul Tannery, Memoires Scientifique 13 Correspondence, Gauthier-Villars, Paris, 1934, p. 306), Cantor states that his paternal grandparents were members of the Sephardic Jewish community of Copenhagen. Specifically, Cantor states in describing his father: "Er ist aber in Kopenhagen geboren, von israelitischen Eltern, die der dortigen portugisischen Judengemeinde...." ("He was born in Copenhagen of Jewish (lit: 'Israelite') parents from the local Portuguese-Jewish community.") In addition, Cantor's maternal great uncle, a Hungarian violinist Josef Böhm, has been described as Jewish, which may imply that Cantor's mother was at least partly descended from the Hungarian Jewish community. In a letter to Bertrand Russell, Cantor described his ancestry and self-perception as follows: There were documented statements, during the 1930s, that called this Jewish ancestry into question: Biographies Until the 1970s, the chief academic publications on Cantor were two short monographs by Arthur Moritz Schönflies (1927) – largely the correspondence with Mittag-Leffler – and Fraenkel (1930). Both were at second and third hand; neither had much on his personal life. The gap was largely filled by Eric Temple Bell's Men of Mathematics (1937), which one of Cantor's modern biographers describes as "perhaps the most widely read modern book on the history of mathematics"; and as "one of the worst". Bell presents Cantor's relationship with his father as Oedipal, Cantor's differences with Kronecker as a quarrel between two Jews, and Cantor's madness as Romantic despair over his failure to win acceptance for his mathematics. Grattan-Guinness (1971) found that none of these claims were true, but they may be found in many books of the intervening period, owing to the absence of any other narrative. There are other legends, independent of Bell – including one that labels Cantor's father a foundling, shipped to Saint Petersburg by unknown parents. A critique of Bell's book is contained in Joseph Dauben's biography. Writes Dauben: See also Absolute Infinite Aleph number Cardinality of the continuum Cantor algebra Cantor cube Cantor distribution Cantor function Cantor medal – award by the Deutsche Mathematiker-Vereinigung in honor of Georg Cantor Cantor normal form theorem Cantor space Cantor tree surface Cantor's back-and-forth method Cantor's diagonal argument Cantor's intersection theorem Cantor's isomorphism theorem Cantor's first set theory article Cantor's paradox Cantor's theorem Cantor's leaky tent Cantor–Bendixson theorem Cantor–Dedekind axiom Cantor–Schröder–Bernstein Cantor–Bernstein theorem Cantor set Cardinal number Continuum hypothesis Countable set Derived set (mathematics) Epsilon numbers (mathematics) Factorial number system Heine–Cantor theorem Pairing function Smith–Volterra–Cantor set Transfinite number Notes References . . Internet version published in Journal of the ACMS 2004. Note, though, that Cantor's Latin quotation described in this article as a familiar passage from the Bible is actually from the works of Seneca and has no implication of divine revelation. . . . . . . . . . . Although the presentation is axiomatic rather than naive, Suppes proves and discusses many of Cantor's results, which demonstrates Cantor's continued importance for the edifice of foundational mathematics. . . . Bibliography Older sources on Cantor's life should be treated with caution. See section § Biographies above. Primary literature in English . Primary literature in German . Published separately as: Grundlagen einer allgemeinen Mannigfaltigkeitslehre. . Almost everything that Cantor wrote. Includes excerpts of his correspondence with Dedekind (p. 443–451) and Fraenkel's Cantor biography (p. 452–483) in the appendix. Secondary literature . . A popular treatment of infinity, in which Cantor is frequently mentioned. . Contains a detailed treatment of both Cantor's and Dedekind's contributions to set theory. . . Three chapters and 18 index entries on Cantor. Newstead, Anne (2009). "Cantor on Infinity in Nature, Number, and the Divine Mind", American Catholic Philosophical Quarterly, 83 (4): 532–553, https://doi.org/10.5840/acpq200983444. With acknowledgement of Dauben's pioneering historical work, this article further discusses Cantor's relation to the philosophy of Spinoza and Leibniz in depth, and his engagement in the Pantheismusstreit. Brief mention is made of Cantor's learning from F.A.Trendelenburg. . Chapter 16 illustrates how Cantorian thinking intrigues a leading contemporary theoretical physicist. . Deals with similar topics to Aczel, but in more depth. . Leonida Lazzari, L'infinito di Cantor. Editrice Pitagora, Bologna, 2008. External links Mainly devoted to Cantor's accomplishment. Stanford Encyclopedia of Philosophy: Set theory by Thomas Jech. The Early Development of Set Theory by José Ferreirós. "Cantor infinities", analysis of Cantor's 1874 article, BibNum (for English version, click 'à télécharger'). There is an error in this analysis. It states Cantor's Theorem 1 correctly: Algebraic numbers can be counted. However, it states his Theorem 2 incorrectly: Real numbers cannot be counted. It then says: "Cantor notes that, taken together, Theorems 1 and 2 allow for the redemonstration of the existence of non-algebraic real numbers …" This existence demonstration is non-constructive. Theorem 2 stated correctly is: Given a sequence of real numbers, one can determine a real number that is not in the sequence. Taken together, Theorem 1 and this Theorem 2 produce a non-algebraic number. Cantor also used Theorem 2 to prove that the real numbers cannot be counted. See Cantor's first set theory article or Georg Cantor and Transcendental Numbers. People from Saint Petersburg German logicians Set theorists 19th-century German writers 19th-century German male writers 20th-century German writers 19th-century German mathematicians 20th-century German mathematicians 19th-century philosophers 20th-century German philosophers Martin Luther University of Halle-Wittenberg faculty ETH Zurich alumni German Lutherans People with bipolar disorder Baltic-German people 1845 births 1918 deaths Technische Universität Darmstadt alumni
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[ "Leopold Kronecker (; 7 December 1823 – 29 December 1891) was a German mathematician who worked on number theory, algebra and logic. He criticized Georg Cantor's work on set theory, and was quoted by as having said, \"\" (\"God made the integers, all else is the work of man\"). Kronecker was a student and lifelong friend of Ernst Kummer.\n\nBiography\nLeopold Kronecker was born on 7 December 1823 in Liegnitz, Prussia (now Legnica, Poland) in a wealthy Jewish family. His parents, Isidor and Johanna (née Prausnitzep), took care of their children's education and provided them with private tutoring at home—Leopold's younger brother Hugo Kronecker would also follow a scientific path, later becoming a notable physiologist. Kronecker then went to the Liegnitz Gymnasium where he was interested in a wide range of topics including science, history and philosophy, while also practicing gymnastics and swimming. At the gymnasium he was taught by Ernst Kummer, who noticed and encouraged the boy's interest in mathematics.\n\nIn 1841 Kronecker became a student at the University of Berlin where his interest did not immediately focus on mathematics, but rather spread over several subjects including astronomy and philosophy. He spent the summer of 1843 at the University of Bonn studying astronomy and 1843–44 at the University of Breslau following his former teacher Kummer. Back in Berlin, Kronecker studied mathematics with Peter Gustav Lejeune Dirichlet and in 1845 defended his dissertation in algebraic number theory written under Dirichlet's supervision.\n\nAfter obtaining his degree, Kronecker did not follow his interest in research on an academic career path. He went back to his hometown to manage a large farming estate built up by his mother's uncle, a former banker. In 1848 he married his cousin Fanny Prausnitzer, and the couple had six children. For several years Kronecker focused on business, and although he continued to study mathematics as a hobby and corresponded with Kummer, he published no mathematical results. In 1853 he wrote a memoir on the algebraic solvability of equations extending the work of Évariste Galois on the theory of equations.\n\nDue to his business activity, Kronecker was financially comfortable, and thus he could return to Berlin in 1855 to pursue mathematics as a private scholar. Dirichlet, whose wife Rebecka came from the wealthy Mendelssohn family, had introduced Kronecker to the Berlin elite. He became a close friend of Karl Weierstrass, who had recently joined the university, and his former teacher Kummer who had just taken over Dirichlet's mathematics chair. Over the following years Kronecker published numerous papers resulting from his previous years' independent research. As a result of this published research, he was elected a member of the Berlin Academy in 1861.\n\nAlthough he held no official university position, Kronecker had the right as a member of the Academy to hold classes at the University of Berlin and he decided to do so, starting in 1862. In 1866, when Riemann died, Kronecker was offered the mathematics chair at the University of Göttingen (previously held by Carl Friedrich Gauss and Dirichlet), but he refused, preferring to keep his position at the Academy. Only in 1883, when Kummer retired from the University, was Kronecker invited to succeed him and became an ordinary professor. Kronecker was the supervisor of Kurt Hensel, Adolf Kneser, Mathias Lerch, and Franz Mertens, amongst others.\n\nHis philosophical view of mathematics put him in conflict with several mathematicians over the years, notably straining his relationship with Weierstrass, who almost decided to leave the University in 1888. Kronecker died on 29 December 1891 in Berlin, several months after the death of his wife. In the last year of his life, he converted to Christianity. He is buried in the Alter St Matthäus Kirchhof cemetery in Berlin-Schöneberg, close to Gustav Kirchhoff.\n\nScientific activity\n\nMathematics research\nAn important part of Kronecker's research focused on number theory and algebra. In an 1853 paper on the theory of equations and Galois theory he formulated the Kronecker–Weber theorem, without however offering a definitive proof (the theorem was proved completely much later by David Hilbert). He also introduced the structure theorem for finitely-generated abelian groups. Kronecker studied elliptic functions and conjectured his \"liebster Jugendtraum\" (\"dearest dream of youth\"), a generalization that was later put forward by Hilbert in a modified form as his twelfth problem. In an 1850 paper, On the Solution of the General Equation of the Fifth Degree, Kronecker solved the quintic equation by applying group theory (though his solution was not in terms of radicals: that was already proven impossible by the Abel–Ruffini theorem).\n\nIn algebraic number theory Kronecker introduced the theory of divisors as an alternative to Dedekind's theory of ideals, which he did not find acceptable for philosophical reasons. Although the general adoption of Dedekind's approach led Kronecker's theory to be ignored for a long time, his divisors were found useful and were revived by several mathematicians in the 20th century.\n\nKronecker also contributed to the concept of continuity, reconstructing the form of irrational numbers in real numbers. In analysis, Kronecker rejected the formulation of a continuous, nowhere differentiable function by his colleague, Karl Weierstrass.\n\nAlso named for Kronecker are the Kronecker limit formula, Kronecker's congruence, Kronecker delta, Kronecker comb, Kronecker symbol, Kronecker product, Kronecker's method for factorizing polynomials, Kronecker substitution, Kronecker's theorem in number theory, Kronecker's lemma, and Eisenstein–Kronecker numbers.\n\nPhilosophy of mathematics\nKronecker's finitism made him a forerunner of intuitionism in foundations of mathematics.\n\nHonours\nKronecker was elected as a member of several academies:\n Prussian Academy of Sciences (1861)\n French Academy of Sciences (1868)\n Royal Society (1884).\n\nThe 25624 Kronecker asteroid is named after him.\n\nPublications\n\nReferences\n\nFurther reading\n\nExternal links\n\n \n \n\n1823 births\n1891 deaths\n19th-century German mathematicians\nConverts to Christianity\nCorresponding members of the Saint Petersburg Academy of Sciences\nForeign Members of the Royal Society\n19th-century German Jews\nHumboldt University of Berlin alumni\nHumboldt University of Berlin faculty\nIndependent scientists\nNumber theorists\nIntuitionism\nPeople from Legnica\nPeople from the Province of Silesia", "Kronecker graphs are a construction for generating graphs for modeling systems. The method constructs a sequence of graphs from a small base graph by iterating the Kronecker product. A variety of generalizations of Kronecker graphs exist.\n\nThe Graph500 benchmark for supercomputers is based on the use of a stochastic version of Kronecker graphs. Stochastic kronecker graph is a kronecker graph with each component of the matrix made by real numbers between 0 and 1. The stochastic version of kronecker graph eliminates the staircase effect, which happens due to large multiplicity of kronecker graph.\n\nReferences \n\nGraph families" ]
[ "Georg Cantor", "One-to-one correspondence", "What is one-to-one correspondence?", "He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment.", "What year was he doing his work on this?", "In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence", "What is Crelle's Journal?", "I don't know.", "How was his paper accepted?", "This paper displeased Kronecker, and Cantor wanted to withdraw it;", "Why did it displease Kronecker?", "I don't know." ]
C_002fb3e375d742f8ae31096aef44fc19_0
Did he work with any other collegues during this time?
6
Did Georg Cantor work with any other collegues in addition to Kronecker?
Georg Cantor
Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. CANNOTANSWER
In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points
Georg Ferdinand Ludwig Philipp Cantor ( , ;  – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of. Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian, believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications). The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder. The harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created." Life of Georg Cantor Youth and studies Georg Cantor was born in 1845 in the western merchant colony of Saint Petersburg, Russia, and brought up in the city until he was eleven. Cantor, the oldest of six children, was regarded as an outstanding violinist. His grandfather Franz Böhm (1788–1846) (the violinist Joseph Böhm's brother) was a well-known musician and soloist in a Russian imperial orchestra. Cantor's father had been a member of the Saint Petersburg stock exchange; when he became ill, the family moved to Germany in 1856, first to Wiesbaden, then to Frankfurt, seeking milder winters than those of Saint Petersburg. In 1860, Cantor graduated with distinction from the Realschule in Darmstadt; his exceptional skills in mathematics, trigonometry in particular, were noted. In August 1862, he then graduated from the "Höhere Gewerbeschule Darmstadt", now the Technische Universität Darmstadt. In 1862, Cantor entered the Swiss Federal Polytechnic. After receiving a substantial inheritance upon his father's death in June 1863, Cantor shifted his studies to the University of Berlin, attending lectures by Leopold Kronecker, Karl Weierstrass and Ernst Kummer. He spent the summer of 1866 at the University of Göttingen, then and later a center for mathematical research. Cantor was a good student, and he received his doctorate degree in 1867. Teacher and researcher Cantor submitted his dissertation on number theory at the University of Berlin in 1867. After teaching briefly in a Berlin girls' school, Cantor took up a position at the University of Halle, where he spent his entire career. He was awarded the requisite habilitation for his thesis, also on number theory, which he presented in 1869 upon his appointment at Halle University. In 1874, Cantor married Vally Guttmann. They had six children, the last (Rudolph) born in 1886. Cantor was able to support a family despite modest academic pay, thanks to his inheritance from his father. During his honeymoon in the Harz mountains, Cantor spent much time in mathematical discussions with Richard Dedekind, whom he had met two years earlier while on Swiss holiday. Cantor was promoted to extraordinary professor in 1872 and made full professor in 1879. To attain the latter rank at the age of 34 was a notable accomplishment, but Cantor desired a chair at a more prestigious university, in particular at Berlin, at that time the leading German university. However, his work encountered too much opposition for that to be possible. Kronecker, who headed mathematics at Berlin until his death in 1891, became increasingly uncomfortable with the prospect of having Cantor as a colleague, perceiving him as a "corrupter of youth" for teaching his ideas to a younger generation of mathematicians. Worse yet, Kronecker, a well-established figure within the mathematical community and Cantor's former professor, disagreed fundamentally with the thrust of Cantor's work ever since he intentionally delayed the publication of Cantor's first major publication in 1874. Kronecker, now seen as one of the founders of the constructive viewpoint in mathematics, disliked much of Cantor's set theory because it asserted the existence of sets satisfying certain properties, without giving specific examples of sets whose members did indeed satisfy those properties. Whenever Cantor applied for a post in Berlin, he was declined, and it usually involved Kronecker, so Cantor came to believe that Kronecker's stance would make it impossible for him ever to leave Halle. In 1881, Cantor's Halle colleague Eduard Heine died, creating a vacant chair. Halle accepted Cantor's suggestion that it be offered to Dedekind, Heinrich M. Weber and Franz Mertens, in that order, but each declined the chair after being offered it. Friedrich Wangerin was eventually appointed, but he was never close to Cantor. In 1882, the mathematical correspondence between Cantor and Dedekind came to an end, apparently as a result of Dedekind's declining the chair at Halle. Cantor also began another important correspondence, with Gösta Mittag-Leffler in Sweden, and soon began to publish in Mittag-Leffler's journal Acta Mathematica. But in 1885, Mittag-Leffler was concerned about the philosophical nature and new terminology in a paper Cantor had submitted to Acta. He asked Cantor to withdraw the paper from Acta while it was in proof, writing that it was "... about one hundred years too soon." Cantor complied, but then curtailed his relationship and correspondence with Mittag-Leffler, writing to a third party, "Had Mittag-Leffler had his way, I should have to wait until the year 1984, which to me seemed too great a demand! ... But of course I never want to know anything again about Acta Mathematica." Cantor suffered his first known bout of depression in May 1884. Criticism of his work weighed on his mind: every one of the fifty-two letters he wrote to Mittag-Leffler in 1884 mentioned Kronecker. A passage from one of these letters is revealing of the damage to Cantor's self-confidence: This crisis led him to apply to lecture on philosophy rather than mathematics. He also began an intense study of Elizabethan literature thinking there might be evidence that Francis Bacon wrote the plays attributed to William Shakespeare (see Shakespearean authorship question); this ultimately resulted in two pamphlets, published in 1896 and 1897. Cantor recovered soon thereafter, and subsequently made further important contributions, including his diagonal argument and theorem. However, he never again attained the high level of his remarkable papers of 1874–84, even after Kronecker's death on December 29, 1891. He eventually sought, and achieved, a reconciliation with Kronecker. Nevertheless, the philosophical disagreements and difficulties dividing them persisted. In 1889, Cantor was instrumental in founding the German Mathematical Society and chaired its first meeting in Halle in 1891, where he first introduced his diagonal argument; his reputation was strong enough, despite Kronecker's opposition to his work, to ensure he was elected as the first president of this society. Setting aside the animosity Kronecker had displayed towards him, Cantor invited him to address the meeting, but Kronecker was unable to do so because his wife was dying from injuries sustained in a skiing accident at the time. Georg Cantor was also instrumental in the establishment of the first International Congress of Mathematicians, which was held in Zürich, Switzerland, in 1897. Later years and death After Cantor's 1884 hospitalization, there is no record that he was in any sanatorium again until 1899. Soon after that second hospitalization, Cantor's youngest son Rudolph died suddenly on December 16 (Cantor was delivering a lecture on his views on Baconian theory and William Shakespeare), and this tragedy drained Cantor of much of his passion for mathematics. Cantor was again hospitalized in 1903. One year later, he was outraged and agitated by a paper presented by Julius König at the Third International Congress of Mathematicians. The paper attempted to prove that the basic tenets of transfinite set theory were false. Since the paper had been read in front of his daughters and colleagues, Cantor perceived himself as having been publicly humiliated. Although Ernst Zermelo demonstrated less than a day later that König's proof had failed, Cantor remained shaken, and momentarily questioning God. Cantor suffered from chronic depression for the rest of his life, for which he was excused from teaching on several occasions and repeatedly confined in various sanatoria. The events of 1904 preceded a series of hospitalizations at intervals of two or three years. He did not abandon mathematics completely, however, lecturing on the paradoxes of set theory (Burali-Forti paradox, Cantor's paradox, and Russell's paradox) to a meeting of the Deutsche Mathematiker-Vereinigung in 1903, and attending the International Congress of Mathematicians at Heidelberg in 1904. In 1911, Cantor was one of the distinguished foreign scholars invited to attend the 500th anniversary of the founding of the University of St. Andrews in Scotland. Cantor attended, hoping to meet Bertrand Russell, whose newly published Principia Mathematica repeatedly cited Cantor's work, but this did not come about. The following year, St. Andrews awarded Cantor an honorary doctorate, but illness precluded his receiving the degree in person. Cantor retired in 1913, living in poverty and suffering from malnourishment during World War I. The public celebration of his 70th birthday was canceled because of the war. In June 1917, he entered a sanatorium for the last time and continually wrote to his wife asking to be allowed to go home. Georg Cantor had a fatal heart attack on January 6, 1918, in the sanatorium where he had spent the last year of his life. Mathematical work Cantor's work between 1874 and 1884 is the origin of set theory. Prior to this work, the concept of a set was a rather elementary one that had been used implicitly since the beginning of mathematics, dating back to the ideas of Aristotle. No one had realized that set theory had any nontrivial content. Before Cantor, there were only finite sets (which are easy to understand) and "the infinite" (which was considered a topic for philosophical, rather than mathematical, discussion). By proving that there are (infinitely) many possible sizes for infinite sets, Cantor established that set theory was not trivial, and it needed to be studied. Set theory has come to play the role of a foundational theory in modern mathematics, in the sense that it interprets propositions about mathematical objects (for example, numbers and functions) from all the traditional areas of mathematics (such as algebra, analysis and topology) in a single theory, and provides a standard set of axioms to prove or disprove them. The basic concepts of set theory are now used throughout mathematics. In one of his earliest papers, Cantor proved that the set of real numbers is "more numerous" than the set of natural numbers; this showed, for the first time, that there exist infinite sets of different sizes. He was also the first to appreciate the importance of one-to-one correspondences (hereinafter denoted "1-to-1 correspondence") in set theory. He used this concept to define finite and infinite sets, subdividing the latter into denumerable (or countably infinite) sets and nondenumerable sets (uncountably infinite sets). Cantor developed important concepts in topology and their relation to cardinality. For example, he showed that the Cantor set, discovered by Henry John Stephen Smith in 1875, is nowhere dense, but has the same cardinality as the set of all real numbers, whereas the rationals are everywhere dense, but countable. He also showed that all countable dense linear orders without end points are order-isomorphic to the rational numbers. Cantor introduced fundamental constructions in set theory, such as the power set of a set A, which is the set of all possible subsets of A. He later proved that the size of the power set of A is strictly larger than the size of A, even when A is an infinite set; this result soon became known as Cantor's theorem. Cantor developed an entire theory and arithmetic of infinite sets, called cardinals and ordinals, which extended the arithmetic of the natural numbers. His notation for the cardinal numbers was the Hebrew letter (aleph) with a natural number subscript; for the ordinals he employed the Greek letter ω (omega). This notation is still in use today. The Continuum hypothesis, introduced by Cantor, was presented by David Hilbert as the first of his twenty-three open problems in his address at the 1900 International Congress of Mathematicians in Paris. Cantor's work also attracted favorable notice beyond Hilbert's celebrated encomium. The US philosopher Charles Sanders Peirce praised Cantor's set theory and, following public lectures delivered by Cantor at the first International Congress of Mathematicians, held in Zurich in 1897, Adolf Hurwitz and Jacques Hadamard also both expressed their admiration. At that Congress, Cantor renewed his friendship and correspondence with Dedekind. From 1905, Cantor corresponded with his British admirer and translator Philip Jourdain on the history of set theory and on Cantor's religious ideas. This was later published, as were several of his expository works. Number theory, trigonometric series and ordinals Cantor's first ten papers were on number theory, his thesis topic. At the suggestion of Eduard Heine, the Professor at Halle, Cantor turned to analysis. Heine proposed that Cantor solve an open problem that had eluded Peter Gustav Lejeune Dirichlet, Rudolf Lipschitz, Bernhard Riemann, and Heine himself: the uniqueness of the representation of a function by trigonometric series. Cantor solved this problem in 1869. It was while working on this problem that he discovered transfinite ordinals, which occurred as indices n in the nth derived set Sn of a set S of zeros of a trigonometric series. Given a trigonometric series f(x) with S as its set of zeros, Cantor had discovered a procedure that produced another trigonometric series that had S1 as its set of zeros, where S1 is the set of limit points of S. If Sk+1 is the set of limit points of Sk, then he could construct a trigonometric series whose zeros are Sk+1. Because the sets Sk were closed, they contained their limit points, and the intersection of the infinite decreasing sequence of sets S, S1, S2, S3,... formed a limit set, which we would now call Sω, and then he noticed that Sω would also have to have a set of limit points Sω+1, and so on. He had examples that went on forever, and so here was a naturally occurring infinite sequence of infinite numbers ω, ω + 1, ω + 2, ... Between 1870 and 1872, Cantor published more papers on trigonometric series, and also a paper defining irrational numbers as convergent sequences of rational numbers. Dedekind, whom Cantor befriended in 1872, cited this paper later that year, in the paper where he first set out his celebrated definition of real numbers by Dedekind cuts. While extending the notion of number by means of his revolutionary concept of infinite cardinality, Cantor was paradoxically opposed to theories of infinitesimals of his contemporaries Otto Stolz and Paul du Bois-Reymond, describing them as both "an abomination" and "a cholera bacillus of mathematics". Cantor also published an erroneous "proof" of the inconsistency of infinitesimals. Set theory The beginning of set theory as a branch of mathematics is often marked by the publication of Cantor's 1874 paper, "Ueber eine Eigenschaft des Inbegriffes aller reellen algebraischen Zahlen" ("On a Property of the Collection of All Real Algebraic Numbers"). This paper was the first to provide a rigorous proof that there was more than one kind of infinity. Previously, all infinite collections had been implicitly assumed to be equinumerous (that is, of "the same size" or having the same number of elements). Cantor proved that the collection of real numbers and the collection of positive integers are not equinumerous. In other words, the real numbers are not countable. His proof differs from the diagonal argument that he gave in 1891. Cantor's article also contains a new method of constructing transcendental numbers. Transcendental numbers were first constructed by Joseph Liouville in 1844. Cantor established these results using two constructions. His first construction shows how to write the real algebraic numbers as a sequence a1, a2, a3, .... In other words, the real algebraic numbers are countable. Cantor starts his second construction with any sequence of real numbers. Using this sequence, he constructs nested intervals whose intersection contains a real number not in the sequence. Since every sequence of real numbers can be used to construct a real not in the sequence, the real numbers cannot be written as a sequence – that is, the real numbers are not countable. By applying his construction to the sequence of real algebraic numbers, Cantor produces a transcendental number. Cantor points out that his constructions prove more – namely, they provide a new proof of Liouville's theorem: Every interval contains infinitely many transcendental numbers. Cantor's next article contains a construction that proves the set of transcendental numbers has the same "power" (see below) as the set of real numbers. Between 1879 and 1884, Cantor published a series of six articles in Mathematische Annalen that together formed an introduction to his set theory. At the same time, there was growing opposition to Cantor's ideas, led by Leopold Kronecker, who admitted mathematical concepts only if they could be constructed in a finite number of steps from the natural numbers, which he took as intuitively given. For Kronecker, Cantor's hierarchy of infinities was inadmissible, since accepting the concept of actual infinity would open the door to paradoxes which would challenge the validity of mathematics as a whole. Cantor also introduced the Cantor set during this period. The fifth paper in this series, "Grundlagen einer allgemeinen Mannigfaltigkeitslehre" ("Foundations of a General Theory of Aggregates"), published in 1883, was the most important of the six and was also published as a separate monograph. It contained Cantor's reply to his critics and showed how the transfinite numbers were a systematic extension of the natural numbers. It begins by defining well-ordered sets. Ordinal numbers are then introduced as the order types of well-ordered sets. Cantor then defines the addition and multiplication of the cardinal and ordinal numbers. In 1885, Cantor extended his theory of order types so that the ordinal numbers simply became a special case of order types. In 1891, he published a paper containing his elegant "diagonal argument" for the existence of an uncountable set. He applied the same idea to prove Cantor's theorem: the cardinality of the power set of a set A is strictly larger than the cardinality of A. This established the richness of the hierarchy of infinite sets, and of the cardinal and ordinal arithmetic that Cantor had defined. His argument is fundamental in the solution of the Halting problem and the proof of Gödel's first incompleteness theorem. Cantor wrote on the Goldbach conjecture in 1894. In 1895 and 1897, Cantor published a two-part paper in Mathematische Annalen under Felix Klein's editorship; these were his last significant papers on set theory. The first paper begins by defining set, subset, etc., in ways that would be largely acceptable now. The cardinal and ordinal arithmetic are reviewed. Cantor wanted the second paper to include a proof of the continuum hypothesis, but had to settle for expositing his theory of well-ordered sets and ordinal numbers. Cantor attempts to prove that if A and B are sets with A equivalent to a subset of B and B equivalent to a subset of A, then A and B are equivalent. Ernst Schröder had stated this theorem a bit earlier, but his proof, as well as Cantor's, was flawed. Felix Bernstein supplied a correct proof in his 1898 PhD thesis; hence the name Cantor–Bernstein–Schröder theorem. One-to-one correspondence Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Karl Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. Continuum hypothesis Cantor was the first to formulate what later came to be known as the continuum hypothesis or CH: there exists no set whose power is greater than that of the naturals and less than that of the reals (or equivalently, the cardinality of the reals is exactly aleph-one, rather than just at least aleph-one). Cantor believed the continuum hypothesis to be true and tried for many years to prove it, in vain. His inability to prove the continuum hypothesis caused him considerable anxiety. The difficulty Cantor had in proving the continuum hypothesis has been underscored by later developments in the field of mathematics: a 1940 result by Kurt Gödel and a 1963 one by Paul Cohen together imply that the continuum hypothesis can be neither proved nor disproved using standard Zermelo–Fraenkel set theory plus the axiom of choice (the combination referred to as "ZFC"). Absolute infinite, well-ordering theorem, and paradoxes In 1883, Cantor divided the infinite into the transfinite and the absolute. The transfinite is increasable in magnitude, while the absolute is unincreasable. For example, an ordinal α is transfinite because it can be increased to α + 1. On the other hand, the ordinals form an absolutely infinite sequence that cannot be increased in magnitude because there are no larger ordinals to add to it. In 1883, Cantor also introduced the well-ordering principle "every set can be well-ordered" and stated that it is a "law of thought". Cantor extended his work on the absolute infinite by using it in a proof. Around 1895, he began to regard his well-ordering principle as a theorem and attempted to prove it. In 1899, he sent Dedekind a proof of the equivalent aleph theorem: the cardinality of every infinite set is an aleph. First, he defined two types of multiplicities: consistent multiplicities (sets) and inconsistent multiplicities (absolutely infinite multiplicities). Next he assumed that the ordinals form a set, proved that this leads to a contradiction, and concluded that the ordinals form an inconsistent multiplicity. He used this inconsistent multiplicity to prove the aleph theorem. In 1932, Zermelo criticized the construction in Cantor's proof. Cantor avoided paradoxes by recognizing that there are two types of multiplicities. In his set theory, when it is assumed that the ordinals form a set, the resulting contradiction implies only that the ordinals form an inconsistent multiplicity. In contrast, Bertrand Russell treated all collections as sets, which leads to paradoxes. In Russell's set theory, the ordinals form a set, so the resulting contradiction implies that the theory is inconsistent. From 1901 to 1903, Russell discovered three paradoxes implying that his set theory is inconsistent: the Burali-Forti paradox (which was just mentioned), Cantor's paradox, and Russell's paradox. Russell named paradoxes after Cesare Burali-Forti and Cantor even though neither of them believed that they had found paradoxes. In 1908, Zermelo published his axiom system for set theory. He had two motivations for developing the axiom system: eliminating the paradoxes and securing his proof of the well-ordering theorem. Zermelo had proved this theorem in 1904 using the axiom of choice, but his proof was criticized for a variety of reasons. His response to the criticism included his axiom system and a new proof of the well-ordering theorem. His axioms support this new proof, and they eliminate the paradoxes by restricting the formation of sets. In 1923, John von Neumann developed an axiom system that eliminates the paradoxes by using an approach similar to Cantor's—namely, by identifying collections that are not sets and treating them differently. Von Neumann stated that a class is too big to be a set if it can be put into one-to-one correspondence with the class of all sets. He defined a set as a class that is a member of some class and stated the axiom: A class is not a set if and only if there is a one-to-one correspondence between it and the class of all sets. This axiom implies that these big classes are not sets, which eliminates the paradoxes since they cannot be members of any class. Von Neumann also used his axiom to prove the well-ordering theorem: Like Cantor, he assumed that the ordinals form a set. The resulting contradiction implies that the class of all ordinals is not a set. Then his axiom provides a one-to-one correspondence between this class and the class of all sets. This correspondence well-orders the class of all sets, which implies the well-ordering theorem. In 1930, Zermelo defined models of set theory that satisfy von Neumann's axiom. Philosophy, religion, literature and Cantor's mathematics The concept of the existence of an actual infinity was an important shared concern within the realms of mathematics, philosophy and religion. Preserving the orthodoxy of the relationship between God and mathematics, although not in the same form as held by his critics, was long a concern of Cantor's. He directly addressed this intersection between these disciplines in the introduction to his Grundlagen einer allgemeinen Mannigfaltigkeitslehre, where he stressed the connection between his view of the infinite and the philosophical one. To Cantor, his mathematical views were intrinsically linked to their philosophical and theological implications – he identified the Absolute Infinite with God, and he considered his work on transfinite numbers to have been directly communicated to him by God, who had chosen Cantor to reveal them to the world. He was a devout Lutheran whose explicit Christian beliefs shaped his philosophy of science. Joseph Dauben has traced the effect Cantor's Christian convictions had on the development of transfinite set theory. Debate among mathematicians grew out of opposing views in the philosophy of mathematics regarding the nature of actual infinity. Some held to the view that infinity was an abstraction which was not mathematically legitimate, and denied its existence. Mathematicians from three major schools of thought (constructivism and its two offshoots, intuitionism and finitism) opposed Cantor's theories in this matter. For constructivists such as Kronecker, this rejection of actual infinity stems from fundamental disagreement with the idea that nonconstructive proofs such as Cantor's diagonal argument are sufficient proof that something exists, holding instead that constructive proofs are required. Intuitionism also rejects the idea that actual infinity is an expression of any sort of reality, but arrive at the decision via a different route than constructivism. Firstly, Cantor's argument rests on logic to prove the existence of transfinite numbers as an actual mathematical entity, whereas intuitionists hold that mathematical entities cannot be reduced to logical propositions, originating instead in the intuitions of the mind. Secondly, the notion of infinity as an expression of reality is itself disallowed in intuitionism, since the human mind cannot intuitively construct an infinite set. Mathematicians such as L. E. J. Brouwer and especially Henri Poincaré adopted an intuitionist stance against Cantor's work. Finally, Wittgenstein's attacks were finitist: he believed that Cantor's diagonal argument conflated the intension of a set of cardinal or real numbers with its extension, thus conflating the concept of rules for generating a set with an actual set. Some Christian theologians saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God. In particular, neo-Thomist thinkers saw the existence of an actual infinity that consisted of something other than God as jeopardizing "God's exclusive claim to supreme infinity". Cantor strongly believed that this view was a misinterpretation of infinity, and was convinced that set theory could help correct this mistake: "... the transfinite species are just as much at the disposal of the intentions of the Creator and His absolute boundless will as are the finite numbers.". It is to note that prominent neo-scholastic german philosopher Constantin Gutberlet was in favor of such theory, holding that it didn't oppose the nature of God. Cantor also believed that his theory of transfinite numbers ran counter to both materialism and determinism – and was shocked when he realized that he was the only faculty member at Halle who did not hold to deterministic philosophical beliefs. It was important to Cantor that his philosophy provided an "organic explanation" of nature, and in his 1883 Grundlagen, he said that such an explanation could only come about by drawing on the resources of the philosophy of Spinoza and Leibniz. In making these claims, Cantor may have been influenced by FA Trendelenburg, whose lecture courses he attended at Berlin, and in turn Cantor produced a Latin commentary on Book 1 of Spinoza's Ethica. FA Trendelenburg was also the examiner of Cantor's Habilitationsschrift. In 1888, Cantor published his correspondence with several philosophers on the philosophical implications of his set theory. In an extensive attempt to persuade other Christian thinkers and authorities to adopt his views, Cantor had corresponded with Christian philosophers such as Tilman Pesch and Joseph Hontheim, as well as theologians such as Cardinal Johann Baptist Franzelin, who once replied by equating the theory of transfinite numbers with pantheism. Although later this Cardinal accepted the theory as valid, due to some clarifications from Cantor's. Cantor even sent one letter directly to Pope Leo XIII himself, and addressed several pamphlets to him. Cantor's philosophy on the nature of numbers led him to affirm a belief in the freedom of mathematics to posit and prove concepts apart from the realm of physical phenomena, as expressions within an internal reality. The only restrictions on this metaphysical system are that all mathematical concepts must be devoid of internal contradiction, and that they follow from existing definitions, axioms, and theorems. This belief is summarized in his assertion that "the essence of mathematics is its freedom." These ideas parallel those of Edmund Husserl, whom Cantor had met in Halle. Meanwhile, Cantor himself was fiercely opposed to infinitesimals, describing them as both an "abomination" and "the cholera bacillus of mathematics". Cantor's 1883 paper reveals that he was well aware of the opposition his ideas were encountering: "... I realize that in this undertaking I place myself in a certain opposition to views widely held concerning the mathematical infinite and to opinions frequently defended on the nature of numbers." Hence he devotes much space to justifying his earlier work, asserting that mathematical concepts may be freely introduced as long as they are free of contradiction and defined in terms of previously accepted concepts. He also cites Aristotle, René Descartes, George Berkeley, Gottfried Leibniz, and Bernard Bolzano on infinity. Instead, he always strongly rejected Kant's philosophy, in the realms of both the philosophy of mathematics and metaphysics. He shared B. Russell's motto "Kant or Cantor", and defined Kant "yonder sophistical Philistine who knew so little mathematics." Cantor's ancestry Cantor's paternal grandparents were from Copenhagen and fled to Russia from the disruption of the Napoleonic Wars. There is very little direct information on them. Cantor's father, Georg Waldemar Cantor, was educated in the Lutheran mission in Saint Petersburg, and his correspondence with his son shows both of them as devout Lutherans. Very little is known for sure about Georg Waldemar's origin or education. Cantor's mother, Maria Anna Böhm, was an Austro-Hungarian born in Saint Petersburg and baptized Roman Catholic; she converted to Protestantism upon marriage. However, there is a letter from Cantor's brother Louis to their mother, stating: ("Even if we were descended from Jews ten times over, and even though I may be, in principle, completely in favour of equal rights for Hebrews, in social life I prefer Christians...") which could be read to imply that she was of Jewish ancestry. According to biographers Eric Temple Bell, Cantor was of Jewish descent, although both parents were baptized. In a 1971 article entitled "Towards a Biography of Georg Cantor", the British historian of mathematics Ivor Grattan-Guinness mentions (Annals of Science 27, pp. 345–391, 1971) that he was unable to find evidence of Jewish ancestry. (He also states that Cantor's wife, Vally Guttmann, was Jewish). In a letter written to Paul Tannery in 1896 (Paul Tannery, Memoires Scientifique 13 Correspondence, Gauthier-Villars, Paris, 1934, p. 306), Cantor states that his paternal grandparents were members of the Sephardic Jewish community of Copenhagen. Specifically, Cantor states in describing his father: "Er ist aber in Kopenhagen geboren, von israelitischen Eltern, die der dortigen portugisischen Judengemeinde...." ("He was born in Copenhagen of Jewish (lit: 'Israelite') parents from the local Portuguese-Jewish community.") In addition, Cantor's maternal great uncle, a Hungarian violinist Josef Böhm, has been described as Jewish, which may imply that Cantor's mother was at least partly descended from the Hungarian Jewish community. In a letter to Bertrand Russell, Cantor described his ancestry and self-perception as follows: There were documented statements, during the 1930s, that called this Jewish ancestry into question: Biographies Until the 1970s, the chief academic publications on Cantor were two short monographs by Arthur Moritz Schönflies (1927) – largely the correspondence with Mittag-Leffler – and Fraenkel (1930). Both were at second and third hand; neither had much on his personal life. The gap was largely filled by Eric Temple Bell's Men of Mathematics (1937), which one of Cantor's modern biographers describes as "perhaps the most widely read modern book on the history of mathematics"; and as "one of the worst". Bell presents Cantor's relationship with his father as Oedipal, Cantor's differences with Kronecker as a quarrel between two Jews, and Cantor's madness as Romantic despair over his failure to win acceptance for his mathematics. Grattan-Guinness (1971) found that none of these claims were true, but they may be found in many books of the intervening period, owing to the absence of any other narrative. There are other legends, independent of Bell – including one that labels Cantor's father a foundling, shipped to Saint Petersburg by unknown parents. A critique of Bell's book is contained in Joseph Dauben's biography. Writes Dauben: See also Absolute Infinite Aleph number Cardinality of the continuum Cantor algebra Cantor cube Cantor distribution Cantor function Cantor medal – award by the Deutsche Mathematiker-Vereinigung in honor of Georg Cantor Cantor normal form theorem Cantor space Cantor tree surface Cantor's back-and-forth method Cantor's diagonal argument Cantor's intersection theorem Cantor's isomorphism theorem Cantor's first set theory article Cantor's paradox Cantor's theorem Cantor's leaky tent Cantor–Bendixson theorem Cantor–Dedekind axiom Cantor–Schröder–Bernstein Cantor–Bernstein theorem Cantor set Cardinal number Continuum hypothesis Countable set Derived set (mathematics) Epsilon numbers (mathematics) Factorial number system Heine–Cantor theorem Pairing function Smith–Volterra–Cantor set Transfinite number Notes References . . Internet version published in Journal of the ACMS 2004. Note, though, that Cantor's Latin quotation described in this article as a familiar passage from the Bible is actually from the works of Seneca and has no implication of divine revelation. . . . . . . . . . . Although the presentation is axiomatic rather than naive, Suppes proves and discusses many of Cantor's results, which demonstrates Cantor's continued importance for the edifice of foundational mathematics. . . . Bibliography Older sources on Cantor's life should be treated with caution. See section § Biographies above. Primary literature in English . Primary literature in German . Published separately as: Grundlagen einer allgemeinen Mannigfaltigkeitslehre. . Almost everything that Cantor wrote. Includes excerpts of his correspondence with Dedekind (p. 443–451) and Fraenkel's Cantor biography (p. 452–483) in the appendix. Secondary literature . . A popular treatment of infinity, in which Cantor is frequently mentioned. . Contains a detailed treatment of both Cantor's and Dedekind's contributions to set theory. . . Three chapters and 18 index entries on Cantor. Newstead, Anne (2009). "Cantor on Infinity in Nature, Number, and the Divine Mind", American Catholic Philosophical Quarterly, 83 (4): 532–553, https://doi.org/10.5840/acpq200983444. With acknowledgement of Dauben's pioneering historical work, this article further discusses Cantor's relation to the philosophy of Spinoza and Leibniz in depth, and his engagement in the Pantheismusstreit. Brief mention is made of Cantor's learning from F.A.Trendelenburg. . Chapter 16 illustrates how Cantorian thinking intrigues a leading contemporary theoretical physicist. . Deals with similar topics to Aczel, but in more depth. . Leonida Lazzari, L'infinito di Cantor. Editrice Pitagora, Bologna, 2008. External links Mainly devoted to Cantor's accomplishment. Stanford Encyclopedia of Philosophy: Set theory by Thomas Jech. The Early Development of Set Theory by José Ferreirós. "Cantor infinities", analysis of Cantor's 1874 article, BibNum (for English version, click 'à télécharger'). There is an error in this analysis. It states Cantor's Theorem 1 correctly: Algebraic numbers can be counted. However, it states his Theorem 2 incorrectly: Real numbers cannot be counted. It then says: "Cantor notes that, taken together, Theorems 1 and 2 allow for the redemonstration of the existence of non-algebraic real numbers …" This existence demonstration is non-constructive. Theorem 2 stated correctly is: Given a sequence of real numbers, one can determine a real number that is not in the sequence. Taken together, Theorem 1 and this Theorem 2 produce a non-algebraic number. Cantor also used Theorem 2 to prove that the real numbers cannot be counted. See Cantor's first set theory article or Georg Cantor and Transcendental Numbers. People from Saint Petersburg German logicians Set theorists 19th-century German writers 19th-century German male writers 20th-century German writers 19th-century German mathematicians 20th-century German mathematicians 19th-century philosophers 20th-century German philosophers Martin Luther University of Halle-Wittenberg faculty ETH Zurich alumni German Lutherans People with bipolar disorder Baltic-German people 1845 births 1918 deaths Technische Universität Darmstadt alumni
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[ "Empress Xiaohui (; –25 January 958 CE) , formally known as Lady He (賀氏), was the first wife of Emperor Taizu of the Song Dynasty. She was the daughter of He Jingsi (贺怀浦) and sister of the general He Lingtu (賀令圖).\n\nLife \nLady He was the eldest daughter of He Jingsi. She was born in Bianjing, present-day Kaifeng, Henan Province, where she met her future husband, Zhao Kuangyin. She had tao elder brothers: He Huaipu (賀懷浦) and Ha Lingtu (賀令圖).\n\nZhao family moved from Luoyang to Kaifeng and grew up together they each other since childhood.He Jingsi and Zhao Kuangyin's father were collegues and worked toghter as palace guards during the Later Tang dynasty.\n\nThey married when she was just 16 years old.The two were deeply in love with each other and their marriage was happy.Zhao Kuangyin cared deeply about his wife. Lady He was born with a weak body but she still gave birth to 3 sons and 2 daughter. Lady He died before his ascension of unknown causes at age of thirthy and was posthumously honoured as Empress Xiaohui. She was buried in the An Mausoleum.\n\nEmperor Taizu always regretted that he wasn't able to grow old with her and cried when remembering her. His wish was to be buried together.\n\nIssue \n\n Zhao Dexiu, Prince Teng (滕王 趙德秀), Taizu Emperor's first son\n Zhao Dezhao, Prince Yanyi (燕懿王 趙德昭; 951–979),Taizu Emperor's second son\n Zhao Delin, Prince Shu (舒王 趙德林), Taizu Emperor's third son\n Princess Xiansu (賢肅帝姬; d. 1008), Taizu Emperor 's first daughter\n Princess Xianjing (賢靖帝姬; d. 1009), Taizu Emperor's second daughter\n\nReferences\n\nBibliography \n\n \n \n\n939 births\n958 deaths\nSong dynasty posthumous empresses\n10th-century Chinese women", "János Hebling (in Hungarian: Hebling János) is a Hungarian physicist, known for his preliminary works at Terahertz physics and spectroscopy. He was born at Zirc on 9 May 1954 and currently works as a professor and Head of the Institute of Physics at University of Pécs and is an active researcher at the Hungarian Academy of Sciences and ELI.\n\nLife \n\nHe graduated from the University of Szeged in 1978 with a degree in physics and then obtained his doctorate in 1981. He became a candidate of physical sciences in 1992 and defended his doctoral dissertation at the Hungarian Academy of Sciences in 2003. Between 2008 and 2018 he was the head of the Institute of Physics at the Faculty of Science of the University of Pécs; since 2012 he has been the head of the MTA-PTE High Intensity Terahertz Research Group, and since 2013 he has been the head of the PTE Doctoral School of Physics. He is well-known for his preliminary works on terahertz physics and spectroscopy, laser physics, nonlinear optics, production and application of THz pulses and laser-driven particle accelerators. He was awarded the Széchenyi Prize and the Gábor Dénes prize for his notable contributions in these areas.\n\nNotable works \n Excimer laser development and production technique of short light pulses by excimer laser (1978—1987).\n Production of ultrashort light pulse with a mode-synchronized dye laser, its amplification and its application\n The new production technique of ultrashort light pulses with titanium-sapphire laser and optical parametric oscillator (1988)\n From 1998 he has continued studies about the production of THz pulses using ultrashort laser pulses and its application in solid state physics, biophysics, the theoretical study of optical parametric oscillators, the study of basic optical relations in this frequency regime.\nIn 2002 he and his collegues proposed a technique of velocity matching by pulse front tilting for large area THz-pulse generation\n\nReferences \n\n1954 births\nLiving people\nHungarian physicists" ]
[ "Georg Cantor", "One-to-one correspondence", "What is one-to-one correspondence?", "He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment.", "What year was he doing his work on this?", "In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence", "What is Crelle's Journal?", "I don't know.", "How was his paper accepted?", "This paper displeased Kronecker, and Cantor wanted to withdraw it;", "Why did it displease Kronecker?", "I don't know.", "Did he work with any other collegues during this time?", "In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points" ]
C_002fb3e375d742f8ae31096aef44fc19_0
How did Dedekind accept this new result?
7
How did Dedekind accept Cantor's new result?
Georg Cantor
Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. CANNOTANSWER
Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!")
Georg Ferdinand Ludwig Philipp Cantor ( , ;  – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of. Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian, believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications). The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder. The harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created." Life of Georg Cantor Youth and studies Georg Cantor was born in 1845 in the western merchant colony of Saint Petersburg, Russia, and brought up in the city until he was eleven. Cantor, the oldest of six children, was regarded as an outstanding violinist. His grandfather Franz Böhm (1788–1846) (the violinist Joseph Böhm's brother) was a well-known musician and soloist in a Russian imperial orchestra. Cantor's father had been a member of the Saint Petersburg stock exchange; when he became ill, the family moved to Germany in 1856, first to Wiesbaden, then to Frankfurt, seeking milder winters than those of Saint Petersburg. In 1860, Cantor graduated with distinction from the Realschule in Darmstadt; his exceptional skills in mathematics, trigonometry in particular, were noted. In August 1862, he then graduated from the "Höhere Gewerbeschule Darmstadt", now the Technische Universität Darmstadt. In 1862, Cantor entered the Swiss Federal Polytechnic. After receiving a substantial inheritance upon his father's death in June 1863, Cantor shifted his studies to the University of Berlin, attending lectures by Leopold Kronecker, Karl Weierstrass and Ernst Kummer. He spent the summer of 1866 at the University of Göttingen, then and later a center for mathematical research. Cantor was a good student, and he received his doctorate degree in 1867. Teacher and researcher Cantor submitted his dissertation on number theory at the University of Berlin in 1867. After teaching briefly in a Berlin girls' school, Cantor took up a position at the University of Halle, where he spent his entire career. He was awarded the requisite habilitation for his thesis, also on number theory, which he presented in 1869 upon his appointment at Halle University. In 1874, Cantor married Vally Guttmann. They had six children, the last (Rudolph) born in 1886. Cantor was able to support a family despite modest academic pay, thanks to his inheritance from his father. During his honeymoon in the Harz mountains, Cantor spent much time in mathematical discussions with Richard Dedekind, whom he had met two years earlier while on Swiss holiday. Cantor was promoted to extraordinary professor in 1872 and made full professor in 1879. To attain the latter rank at the age of 34 was a notable accomplishment, but Cantor desired a chair at a more prestigious university, in particular at Berlin, at that time the leading German university. However, his work encountered too much opposition for that to be possible. Kronecker, who headed mathematics at Berlin until his death in 1891, became increasingly uncomfortable with the prospect of having Cantor as a colleague, perceiving him as a "corrupter of youth" for teaching his ideas to a younger generation of mathematicians. Worse yet, Kronecker, a well-established figure within the mathematical community and Cantor's former professor, disagreed fundamentally with the thrust of Cantor's work ever since he intentionally delayed the publication of Cantor's first major publication in 1874. Kronecker, now seen as one of the founders of the constructive viewpoint in mathematics, disliked much of Cantor's set theory because it asserted the existence of sets satisfying certain properties, without giving specific examples of sets whose members did indeed satisfy those properties. Whenever Cantor applied for a post in Berlin, he was declined, and it usually involved Kronecker, so Cantor came to believe that Kronecker's stance would make it impossible for him ever to leave Halle. In 1881, Cantor's Halle colleague Eduard Heine died, creating a vacant chair. Halle accepted Cantor's suggestion that it be offered to Dedekind, Heinrich M. Weber and Franz Mertens, in that order, but each declined the chair after being offered it. Friedrich Wangerin was eventually appointed, but he was never close to Cantor. In 1882, the mathematical correspondence between Cantor and Dedekind came to an end, apparently as a result of Dedekind's declining the chair at Halle. Cantor also began another important correspondence, with Gösta Mittag-Leffler in Sweden, and soon began to publish in Mittag-Leffler's journal Acta Mathematica. But in 1885, Mittag-Leffler was concerned about the philosophical nature and new terminology in a paper Cantor had submitted to Acta. He asked Cantor to withdraw the paper from Acta while it was in proof, writing that it was "... about one hundred years too soon." Cantor complied, but then curtailed his relationship and correspondence with Mittag-Leffler, writing to a third party, "Had Mittag-Leffler had his way, I should have to wait until the year 1984, which to me seemed too great a demand! ... But of course I never want to know anything again about Acta Mathematica." Cantor suffered his first known bout of depression in May 1884. Criticism of his work weighed on his mind: every one of the fifty-two letters he wrote to Mittag-Leffler in 1884 mentioned Kronecker. A passage from one of these letters is revealing of the damage to Cantor's self-confidence: This crisis led him to apply to lecture on philosophy rather than mathematics. He also began an intense study of Elizabethan literature thinking there might be evidence that Francis Bacon wrote the plays attributed to William Shakespeare (see Shakespearean authorship question); this ultimately resulted in two pamphlets, published in 1896 and 1897. Cantor recovered soon thereafter, and subsequently made further important contributions, including his diagonal argument and theorem. However, he never again attained the high level of his remarkable papers of 1874–84, even after Kronecker's death on December 29, 1891. He eventually sought, and achieved, a reconciliation with Kronecker. Nevertheless, the philosophical disagreements and difficulties dividing them persisted. In 1889, Cantor was instrumental in founding the German Mathematical Society and chaired its first meeting in Halle in 1891, where he first introduced his diagonal argument; his reputation was strong enough, despite Kronecker's opposition to his work, to ensure he was elected as the first president of this society. Setting aside the animosity Kronecker had displayed towards him, Cantor invited him to address the meeting, but Kronecker was unable to do so because his wife was dying from injuries sustained in a skiing accident at the time. Georg Cantor was also instrumental in the establishment of the first International Congress of Mathematicians, which was held in Zürich, Switzerland, in 1897. Later years and death After Cantor's 1884 hospitalization, there is no record that he was in any sanatorium again until 1899. Soon after that second hospitalization, Cantor's youngest son Rudolph died suddenly on December 16 (Cantor was delivering a lecture on his views on Baconian theory and William Shakespeare), and this tragedy drained Cantor of much of his passion for mathematics. Cantor was again hospitalized in 1903. One year later, he was outraged and agitated by a paper presented by Julius König at the Third International Congress of Mathematicians. The paper attempted to prove that the basic tenets of transfinite set theory were false. Since the paper had been read in front of his daughters and colleagues, Cantor perceived himself as having been publicly humiliated. Although Ernst Zermelo demonstrated less than a day later that König's proof had failed, Cantor remained shaken, and momentarily questioning God. Cantor suffered from chronic depression for the rest of his life, for which he was excused from teaching on several occasions and repeatedly confined in various sanatoria. The events of 1904 preceded a series of hospitalizations at intervals of two or three years. He did not abandon mathematics completely, however, lecturing on the paradoxes of set theory (Burali-Forti paradox, Cantor's paradox, and Russell's paradox) to a meeting of the Deutsche Mathematiker-Vereinigung in 1903, and attending the International Congress of Mathematicians at Heidelberg in 1904. In 1911, Cantor was one of the distinguished foreign scholars invited to attend the 500th anniversary of the founding of the University of St. Andrews in Scotland. Cantor attended, hoping to meet Bertrand Russell, whose newly published Principia Mathematica repeatedly cited Cantor's work, but this did not come about. The following year, St. Andrews awarded Cantor an honorary doctorate, but illness precluded his receiving the degree in person. Cantor retired in 1913, living in poverty and suffering from malnourishment during World War I. The public celebration of his 70th birthday was canceled because of the war. In June 1917, he entered a sanatorium for the last time and continually wrote to his wife asking to be allowed to go home. Georg Cantor had a fatal heart attack on January 6, 1918, in the sanatorium where he had spent the last year of his life. Mathematical work Cantor's work between 1874 and 1884 is the origin of set theory. Prior to this work, the concept of a set was a rather elementary one that had been used implicitly since the beginning of mathematics, dating back to the ideas of Aristotle. No one had realized that set theory had any nontrivial content. Before Cantor, there were only finite sets (which are easy to understand) and "the infinite" (which was considered a topic for philosophical, rather than mathematical, discussion). By proving that there are (infinitely) many possible sizes for infinite sets, Cantor established that set theory was not trivial, and it needed to be studied. Set theory has come to play the role of a foundational theory in modern mathematics, in the sense that it interprets propositions about mathematical objects (for example, numbers and functions) from all the traditional areas of mathematics (such as algebra, analysis and topology) in a single theory, and provides a standard set of axioms to prove or disprove them. The basic concepts of set theory are now used throughout mathematics. In one of his earliest papers, Cantor proved that the set of real numbers is "more numerous" than the set of natural numbers; this showed, for the first time, that there exist infinite sets of different sizes. He was also the first to appreciate the importance of one-to-one correspondences (hereinafter denoted "1-to-1 correspondence") in set theory. He used this concept to define finite and infinite sets, subdividing the latter into denumerable (or countably infinite) sets and nondenumerable sets (uncountably infinite sets). Cantor developed important concepts in topology and their relation to cardinality. For example, he showed that the Cantor set, discovered by Henry John Stephen Smith in 1875, is nowhere dense, but has the same cardinality as the set of all real numbers, whereas the rationals are everywhere dense, but countable. He also showed that all countable dense linear orders without end points are order-isomorphic to the rational numbers. Cantor introduced fundamental constructions in set theory, such as the power set of a set A, which is the set of all possible subsets of A. He later proved that the size of the power set of A is strictly larger than the size of A, even when A is an infinite set; this result soon became known as Cantor's theorem. Cantor developed an entire theory and arithmetic of infinite sets, called cardinals and ordinals, which extended the arithmetic of the natural numbers. His notation for the cardinal numbers was the Hebrew letter (aleph) with a natural number subscript; for the ordinals he employed the Greek letter ω (omega). This notation is still in use today. The Continuum hypothesis, introduced by Cantor, was presented by David Hilbert as the first of his twenty-three open problems in his address at the 1900 International Congress of Mathematicians in Paris. Cantor's work also attracted favorable notice beyond Hilbert's celebrated encomium. The US philosopher Charles Sanders Peirce praised Cantor's set theory and, following public lectures delivered by Cantor at the first International Congress of Mathematicians, held in Zurich in 1897, Adolf Hurwitz and Jacques Hadamard also both expressed their admiration. At that Congress, Cantor renewed his friendship and correspondence with Dedekind. From 1905, Cantor corresponded with his British admirer and translator Philip Jourdain on the history of set theory and on Cantor's religious ideas. This was later published, as were several of his expository works. Number theory, trigonometric series and ordinals Cantor's first ten papers were on number theory, his thesis topic. At the suggestion of Eduard Heine, the Professor at Halle, Cantor turned to analysis. Heine proposed that Cantor solve an open problem that had eluded Peter Gustav Lejeune Dirichlet, Rudolf Lipschitz, Bernhard Riemann, and Heine himself: the uniqueness of the representation of a function by trigonometric series. Cantor solved this problem in 1869. It was while working on this problem that he discovered transfinite ordinals, which occurred as indices n in the nth derived set Sn of a set S of zeros of a trigonometric series. Given a trigonometric series f(x) with S as its set of zeros, Cantor had discovered a procedure that produced another trigonometric series that had S1 as its set of zeros, where S1 is the set of limit points of S. If Sk+1 is the set of limit points of Sk, then he could construct a trigonometric series whose zeros are Sk+1. Because the sets Sk were closed, they contained their limit points, and the intersection of the infinite decreasing sequence of sets S, S1, S2, S3,... formed a limit set, which we would now call Sω, and then he noticed that Sω would also have to have a set of limit points Sω+1, and so on. He had examples that went on forever, and so here was a naturally occurring infinite sequence of infinite numbers ω, ω + 1, ω + 2, ... Between 1870 and 1872, Cantor published more papers on trigonometric series, and also a paper defining irrational numbers as convergent sequences of rational numbers. Dedekind, whom Cantor befriended in 1872, cited this paper later that year, in the paper where he first set out his celebrated definition of real numbers by Dedekind cuts. While extending the notion of number by means of his revolutionary concept of infinite cardinality, Cantor was paradoxically opposed to theories of infinitesimals of his contemporaries Otto Stolz and Paul du Bois-Reymond, describing them as both "an abomination" and "a cholera bacillus of mathematics". Cantor also published an erroneous "proof" of the inconsistency of infinitesimals. Set theory The beginning of set theory as a branch of mathematics is often marked by the publication of Cantor's 1874 paper, "Ueber eine Eigenschaft des Inbegriffes aller reellen algebraischen Zahlen" ("On a Property of the Collection of All Real Algebraic Numbers"). This paper was the first to provide a rigorous proof that there was more than one kind of infinity. Previously, all infinite collections had been implicitly assumed to be equinumerous (that is, of "the same size" or having the same number of elements). Cantor proved that the collection of real numbers and the collection of positive integers are not equinumerous. In other words, the real numbers are not countable. His proof differs from the diagonal argument that he gave in 1891. Cantor's article also contains a new method of constructing transcendental numbers. Transcendental numbers were first constructed by Joseph Liouville in 1844. Cantor established these results using two constructions. His first construction shows how to write the real algebraic numbers as a sequence a1, a2, a3, .... In other words, the real algebraic numbers are countable. Cantor starts his second construction with any sequence of real numbers. Using this sequence, he constructs nested intervals whose intersection contains a real number not in the sequence. Since every sequence of real numbers can be used to construct a real not in the sequence, the real numbers cannot be written as a sequence – that is, the real numbers are not countable. By applying his construction to the sequence of real algebraic numbers, Cantor produces a transcendental number. Cantor points out that his constructions prove more – namely, they provide a new proof of Liouville's theorem: Every interval contains infinitely many transcendental numbers. Cantor's next article contains a construction that proves the set of transcendental numbers has the same "power" (see below) as the set of real numbers. Between 1879 and 1884, Cantor published a series of six articles in Mathematische Annalen that together formed an introduction to his set theory. At the same time, there was growing opposition to Cantor's ideas, led by Leopold Kronecker, who admitted mathematical concepts only if they could be constructed in a finite number of steps from the natural numbers, which he took as intuitively given. For Kronecker, Cantor's hierarchy of infinities was inadmissible, since accepting the concept of actual infinity would open the door to paradoxes which would challenge the validity of mathematics as a whole. Cantor also introduced the Cantor set during this period. The fifth paper in this series, "Grundlagen einer allgemeinen Mannigfaltigkeitslehre" ("Foundations of a General Theory of Aggregates"), published in 1883, was the most important of the six and was also published as a separate monograph. It contained Cantor's reply to his critics and showed how the transfinite numbers were a systematic extension of the natural numbers. It begins by defining well-ordered sets. Ordinal numbers are then introduced as the order types of well-ordered sets. Cantor then defines the addition and multiplication of the cardinal and ordinal numbers. In 1885, Cantor extended his theory of order types so that the ordinal numbers simply became a special case of order types. In 1891, he published a paper containing his elegant "diagonal argument" for the existence of an uncountable set. He applied the same idea to prove Cantor's theorem: the cardinality of the power set of a set A is strictly larger than the cardinality of A. This established the richness of the hierarchy of infinite sets, and of the cardinal and ordinal arithmetic that Cantor had defined. His argument is fundamental in the solution of the Halting problem and the proof of Gödel's first incompleteness theorem. Cantor wrote on the Goldbach conjecture in 1894. In 1895 and 1897, Cantor published a two-part paper in Mathematische Annalen under Felix Klein's editorship; these were his last significant papers on set theory. The first paper begins by defining set, subset, etc., in ways that would be largely acceptable now. The cardinal and ordinal arithmetic are reviewed. Cantor wanted the second paper to include a proof of the continuum hypothesis, but had to settle for expositing his theory of well-ordered sets and ordinal numbers. Cantor attempts to prove that if A and B are sets with A equivalent to a subset of B and B equivalent to a subset of A, then A and B are equivalent. Ernst Schröder had stated this theorem a bit earlier, but his proof, as well as Cantor's, was flawed. Felix Bernstein supplied a correct proof in his 1898 PhD thesis; hence the name Cantor–Bernstein–Schröder theorem. One-to-one correspondence Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Karl Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. Continuum hypothesis Cantor was the first to formulate what later came to be known as the continuum hypothesis or CH: there exists no set whose power is greater than that of the naturals and less than that of the reals (or equivalently, the cardinality of the reals is exactly aleph-one, rather than just at least aleph-one). Cantor believed the continuum hypothesis to be true and tried for many years to prove it, in vain. His inability to prove the continuum hypothesis caused him considerable anxiety. The difficulty Cantor had in proving the continuum hypothesis has been underscored by later developments in the field of mathematics: a 1940 result by Kurt Gödel and a 1963 one by Paul Cohen together imply that the continuum hypothesis can be neither proved nor disproved using standard Zermelo–Fraenkel set theory plus the axiom of choice (the combination referred to as "ZFC"). Absolute infinite, well-ordering theorem, and paradoxes In 1883, Cantor divided the infinite into the transfinite and the absolute. The transfinite is increasable in magnitude, while the absolute is unincreasable. For example, an ordinal α is transfinite because it can be increased to α + 1. On the other hand, the ordinals form an absolutely infinite sequence that cannot be increased in magnitude because there are no larger ordinals to add to it. In 1883, Cantor also introduced the well-ordering principle "every set can be well-ordered" and stated that it is a "law of thought". Cantor extended his work on the absolute infinite by using it in a proof. Around 1895, he began to regard his well-ordering principle as a theorem and attempted to prove it. In 1899, he sent Dedekind a proof of the equivalent aleph theorem: the cardinality of every infinite set is an aleph. First, he defined two types of multiplicities: consistent multiplicities (sets) and inconsistent multiplicities (absolutely infinite multiplicities). Next he assumed that the ordinals form a set, proved that this leads to a contradiction, and concluded that the ordinals form an inconsistent multiplicity. He used this inconsistent multiplicity to prove the aleph theorem. In 1932, Zermelo criticized the construction in Cantor's proof. Cantor avoided paradoxes by recognizing that there are two types of multiplicities. In his set theory, when it is assumed that the ordinals form a set, the resulting contradiction implies only that the ordinals form an inconsistent multiplicity. In contrast, Bertrand Russell treated all collections as sets, which leads to paradoxes. In Russell's set theory, the ordinals form a set, so the resulting contradiction implies that the theory is inconsistent. From 1901 to 1903, Russell discovered three paradoxes implying that his set theory is inconsistent: the Burali-Forti paradox (which was just mentioned), Cantor's paradox, and Russell's paradox. Russell named paradoxes after Cesare Burali-Forti and Cantor even though neither of them believed that they had found paradoxes. In 1908, Zermelo published his axiom system for set theory. He had two motivations for developing the axiom system: eliminating the paradoxes and securing his proof of the well-ordering theorem. Zermelo had proved this theorem in 1904 using the axiom of choice, but his proof was criticized for a variety of reasons. His response to the criticism included his axiom system and a new proof of the well-ordering theorem. His axioms support this new proof, and they eliminate the paradoxes by restricting the formation of sets. In 1923, John von Neumann developed an axiom system that eliminates the paradoxes by using an approach similar to Cantor's—namely, by identifying collections that are not sets and treating them differently. Von Neumann stated that a class is too big to be a set if it can be put into one-to-one correspondence with the class of all sets. He defined a set as a class that is a member of some class and stated the axiom: A class is not a set if and only if there is a one-to-one correspondence between it and the class of all sets. This axiom implies that these big classes are not sets, which eliminates the paradoxes since they cannot be members of any class. Von Neumann also used his axiom to prove the well-ordering theorem: Like Cantor, he assumed that the ordinals form a set. The resulting contradiction implies that the class of all ordinals is not a set. Then his axiom provides a one-to-one correspondence between this class and the class of all sets. This correspondence well-orders the class of all sets, which implies the well-ordering theorem. In 1930, Zermelo defined models of set theory that satisfy von Neumann's axiom. Philosophy, religion, literature and Cantor's mathematics The concept of the existence of an actual infinity was an important shared concern within the realms of mathematics, philosophy and religion. Preserving the orthodoxy of the relationship between God and mathematics, although not in the same form as held by his critics, was long a concern of Cantor's. He directly addressed this intersection between these disciplines in the introduction to his Grundlagen einer allgemeinen Mannigfaltigkeitslehre, where he stressed the connection between his view of the infinite and the philosophical one. To Cantor, his mathematical views were intrinsically linked to their philosophical and theological implications – he identified the Absolute Infinite with God, and he considered his work on transfinite numbers to have been directly communicated to him by God, who had chosen Cantor to reveal them to the world. He was a devout Lutheran whose explicit Christian beliefs shaped his philosophy of science. Joseph Dauben has traced the effect Cantor's Christian convictions had on the development of transfinite set theory. Debate among mathematicians grew out of opposing views in the philosophy of mathematics regarding the nature of actual infinity. Some held to the view that infinity was an abstraction which was not mathematically legitimate, and denied its existence. Mathematicians from three major schools of thought (constructivism and its two offshoots, intuitionism and finitism) opposed Cantor's theories in this matter. For constructivists such as Kronecker, this rejection of actual infinity stems from fundamental disagreement with the idea that nonconstructive proofs such as Cantor's diagonal argument are sufficient proof that something exists, holding instead that constructive proofs are required. Intuitionism also rejects the idea that actual infinity is an expression of any sort of reality, but arrive at the decision via a different route than constructivism. Firstly, Cantor's argument rests on logic to prove the existence of transfinite numbers as an actual mathematical entity, whereas intuitionists hold that mathematical entities cannot be reduced to logical propositions, originating instead in the intuitions of the mind. Secondly, the notion of infinity as an expression of reality is itself disallowed in intuitionism, since the human mind cannot intuitively construct an infinite set. Mathematicians such as L. E. J. Brouwer and especially Henri Poincaré adopted an intuitionist stance against Cantor's work. Finally, Wittgenstein's attacks were finitist: he believed that Cantor's diagonal argument conflated the intension of a set of cardinal or real numbers with its extension, thus conflating the concept of rules for generating a set with an actual set. Some Christian theologians saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God. In particular, neo-Thomist thinkers saw the existence of an actual infinity that consisted of something other than God as jeopardizing "God's exclusive claim to supreme infinity". Cantor strongly believed that this view was a misinterpretation of infinity, and was convinced that set theory could help correct this mistake: "... the transfinite species are just as much at the disposal of the intentions of the Creator and His absolute boundless will as are the finite numbers.". It is to note that prominent neo-scholastic german philosopher Constantin Gutberlet was in favor of such theory, holding that it didn't oppose the nature of God. Cantor also believed that his theory of transfinite numbers ran counter to both materialism and determinism – and was shocked when he realized that he was the only faculty member at Halle who did not hold to deterministic philosophical beliefs. It was important to Cantor that his philosophy provided an "organic explanation" of nature, and in his 1883 Grundlagen, he said that such an explanation could only come about by drawing on the resources of the philosophy of Spinoza and Leibniz. In making these claims, Cantor may have been influenced by FA Trendelenburg, whose lecture courses he attended at Berlin, and in turn Cantor produced a Latin commentary on Book 1 of Spinoza's Ethica. FA Trendelenburg was also the examiner of Cantor's Habilitationsschrift. In 1888, Cantor published his correspondence with several philosophers on the philosophical implications of his set theory. In an extensive attempt to persuade other Christian thinkers and authorities to adopt his views, Cantor had corresponded with Christian philosophers such as Tilman Pesch and Joseph Hontheim, as well as theologians such as Cardinal Johann Baptist Franzelin, who once replied by equating the theory of transfinite numbers with pantheism. Although later this Cardinal accepted the theory as valid, due to some clarifications from Cantor's. Cantor even sent one letter directly to Pope Leo XIII himself, and addressed several pamphlets to him. Cantor's philosophy on the nature of numbers led him to affirm a belief in the freedom of mathematics to posit and prove concepts apart from the realm of physical phenomena, as expressions within an internal reality. The only restrictions on this metaphysical system are that all mathematical concepts must be devoid of internal contradiction, and that they follow from existing definitions, axioms, and theorems. This belief is summarized in his assertion that "the essence of mathematics is its freedom." These ideas parallel those of Edmund Husserl, whom Cantor had met in Halle. Meanwhile, Cantor himself was fiercely opposed to infinitesimals, describing them as both an "abomination" and "the cholera bacillus of mathematics". Cantor's 1883 paper reveals that he was well aware of the opposition his ideas were encountering: "... I realize that in this undertaking I place myself in a certain opposition to views widely held concerning the mathematical infinite and to opinions frequently defended on the nature of numbers." Hence he devotes much space to justifying his earlier work, asserting that mathematical concepts may be freely introduced as long as they are free of contradiction and defined in terms of previously accepted concepts. He also cites Aristotle, René Descartes, George Berkeley, Gottfried Leibniz, and Bernard Bolzano on infinity. Instead, he always strongly rejected Kant's philosophy, in the realms of both the philosophy of mathematics and metaphysics. He shared B. Russell's motto "Kant or Cantor", and defined Kant "yonder sophistical Philistine who knew so little mathematics." Cantor's ancestry Cantor's paternal grandparents were from Copenhagen and fled to Russia from the disruption of the Napoleonic Wars. There is very little direct information on them. Cantor's father, Georg Waldemar Cantor, was educated in the Lutheran mission in Saint Petersburg, and his correspondence with his son shows both of them as devout Lutherans. Very little is known for sure about Georg Waldemar's origin or education. Cantor's mother, Maria Anna Böhm, was an Austro-Hungarian born in Saint Petersburg and baptized Roman Catholic; she converted to Protestantism upon marriage. However, there is a letter from Cantor's brother Louis to their mother, stating: ("Even if we were descended from Jews ten times over, and even though I may be, in principle, completely in favour of equal rights for Hebrews, in social life I prefer Christians...") which could be read to imply that she was of Jewish ancestry. According to biographers Eric Temple Bell, Cantor was of Jewish descent, although both parents were baptized. In a 1971 article entitled "Towards a Biography of Georg Cantor", the British historian of mathematics Ivor Grattan-Guinness mentions (Annals of Science 27, pp. 345–391, 1971) that he was unable to find evidence of Jewish ancestry. (He also states that Cantor's wife, Vally Guttmann, was Jewish). In a letter written to Paul Tannery in 1896 (Paul Tannery, Memoires Scientifique 13 Correspondence, Gauthier-Villars, Paris, 1934, p. 306), Cantor states that his paternal grandparents were members of the Sephardic Jewish community of Copenhagen. Specifically, Cantor states in describing his father: "Er ist aber in Kopenhagen geboren, von israelitischen Eltern, die der dortigen portugisischen Judengemeinde...." ("He was born in Copenhagen of Jewish (lit: 'Israelite') parents from the local Portuguese-Jewish community.") In addition, Cantor's maternal great uncle, a Hungarian violinist Josef Böhm, has been described as Jewish, which may imply that Cantor's mother was at least partly descended from the Hungarian Jewish community. In a letter to Bertrand Russell, Cantor described his ancestry and self-perception as follows: There were documented statements, during the 1930s, that called this Jewish ancestry into question: Biographies Until the 1970s, the chief academic publications on Cantor were two short monographs by Arthur Moritz Schönflies (1927) – largely the correspondence with Mittag-Leffler – and Fraenkel (1930). Both were at second and third hand; neither had much on his personal life. The gap was largely filled by Eric Temple Bell's Men of Mathematics (1937), which one of Cantor's modern biographers describes as "perhaps the most widely read modern book on the history of mathematics"; and as "one of the worst". Bell presents Cantor's relationship with his father as Oedipal, Cantor's differences with Kronecker as a quarrel between two Jews, and Cantor's madness as Romantic despair over his failure to win acceptance for his mathematics. Grattan-Guinness (1971) found that none of these claims were true, but they may be found in many books of the intervening period, owing to the absence of any other narrative. There are other legends, independent of Bell – including one that labels Cantor's father a foundling, shipped to Saint Petersburg by unknown parents. A critique of Bell's book is contained in Joseph Dauben's biography. Writes Dauben: See also Absolute Infinite Aleph number Cardinality of the continuum Cantor algebra Cantor cube Cantor distribution Cantor function Cantor medal – award by the Deutsche Mathematiker-Vereinigung in honor of Georg Cantor Cantor normal form theorem Cantor space Cantor tree surface Cantor's back-and-forth method Cantor's diagonal argument Cantor's intersection theorem Cantor's isomorphism theorem Cantor's first set theory article Cantor's paradox Cantor's theorem Cantor's leaky tent Cantor–Bendixson theorem Cantor–Dedekind axiom Cantor–Schröder–Bernstein Cantor–Bernstein theorem Cantor set Cardinal number Continuum hypothesis Countable set Derived set (mathematics) Epsilon numbers (mathematics) Factorial number system Heine–Cantor theorem Pairing function Smith–Volterra–Cantor set Transfinite number Notes References . . Internet version published in Journal of the ACMS 2004. Note, though, that Cantor's Latin quotation described in this article as a familiar passage from the Bible is actually from the works of Seneca and has no implication of divine revelation. . . . . . . . . . . Although the presentation is axiomatic rather than naive, Suppes proves and discusses many of Cantor's results, which demonstrates Cantor's continued importance for the edifice of foundational mathematics. . . . Bibliography Older sources on Cantor's life should be treated with caution. See section § Biographies above. Primary literature in English . Primary literature in German . Published separately as: Grundlagen einer allgemeinen Mannigfaltigkeitslehre. . Almost everything that Cantor wrote. Includes excerpts of his correspondence with Dedekind (p. 443–451) and Fraenkel's Cantor biography (p. 452–483) in the appendix. Secondary literature . . A popular treatment of infinity, in which Cantor is frequently mentioned. . Contains a detailed treatment of both Cantor's and Dedekind's contributions to set theory. . . Three chapters and 18 index entries on Cantor. Newstead, Anne (2009). "Cantor on Infinity in Nature, Number, and the Divine Mind", American Catholic Philosophical Quarterly, 83 (4): 532–553, https://doi.org/10.5840/acpq200983444. With acknowledgement of Dauben's pioneering historical work, this article further discusses Cantor's relation to the philosophy of Spinoza and Leibniz in depth, and his engagement in the Pantheismusstreit. Brief mention is made of Cantor's learning from F.A.Trendelenburg. . Chapter 16 illustrates how Cantorian thinking intrigues a leading contemporary theoretical physicist. . Deals with similar topics to Aczel, but in more depth. . Leonida Lazzari, L'infinito di Cantor. Editrice Pitagora, Bologna, 2008. External links Mainly devoted to Cantor's accomplishment. Stanford Encyclopedia of Philosophy: Set theory by Thomas Jech. The Early Development of Set Theory by José Ferreirós. "Cantor infinities", analysis of Cantor's 1874 article, BibNum (for English version, click 'à télécharger'). There is an error in this analysis. It states Cantor's Theorem 1 correctly: Algebraic numbers can be counted. However, it states his Theorem 2 incorrectly: Real numbers cannot be counted. It then says: "Cantor notes that, taken together, Theorems 1 and 2 allow for the redemonstration of the existence of non-algebraic real numbers …" This existence demonstration is non-constructive. Theorem 2 stated correctly is: Given a sequence of real numbers, one can determine a real number that is not in the sequence. Taken together, Theorem 1 and this Theorem 2 produce a non-algebraic number. Cantor also used Theorem 2 to prove that the real numbers cannot be counted. See Cantor's first set theory article or Georg Cantor and Transcendental Numbers. People from Saint Petersburg German logicians Set theorists 19th-century German writers 19th-century German male writers 20th-century German writers 19th-century German mathematicians 20th-century German mathematicians 19th-century philosophers 20th-century German philosophers Martin Luther University of Halle-Wittenberg faculty ETH Zurich alumni German Lutherans People with bipolar disorder Baltic-German people 1845 births 1918 deaths Technische Universität Darmstadt alumni
false
[ "This is a list of things named after Richard Dedekind. Richard Dedekind (1831–1916), a mathematician, is the eponym of all of the things (and topics) listed below.\n\n19293 Dedekind\nCantor–Dedekind axiom\nDedekind completeness\nDedekind cut\nDedekind discriminant theorem\nDedekind domain\nDedekind eta function\nDedekind function\nDedekind group\nDedekind number\nDedekind's problem\nDedekind–Peano axioms\nDedekind psi function\nDedekind ring\nDedekind sum\nDedekind valuation\nDedekind zeta function\nDedekind–Hasse norm\nDedekind-infinite set\nDedekind–MacNeille completion\nDedekind's axiom\nDedekind's complementary module\nDedekind lattice\nJordan–Dedekind lattice\nDedekind's theorem on ellipsoids of equilibrium\n\nDedekind, Richard", "In algebraic number theory, the Dedekind–Kummer theorem describes how a prime ideal in a Dedekind domain factors over the domain's integral closure.\n\nStatement for number fields \nLet be a number field such that for and let be the minimal polynomial for over . For any prime not dividing , writewhere are monic irreducible polynomials in . Then factors into prime ideals assuch that .\n\nStatement for Dedekind Domains \n\nSee Neukirch.\n\nReferences \n\nAlgebraic number theory" ]
[ "Georg Cantor", "One-to-one correspondence", "What is one-to-one correspondence?", "He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment.", "What year was he doing his work on this?", "In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence", "What is Crelle's Journal?", "I don't know.", "How was his paper accepted?", "This paper displeased Kronecker, and Cantor wanted to withdraw it;", "Why did it displease Kronecker?", "I don't know.", "Did he work with any other collegues during this time?", "In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points", "How did Dedekind accept this new result?", "Cantor wrote to Dedekind: \"Je le vois, mais je ne le crois pas!\" (\"I see it, but I don't believe it!\")" ]
C_002fb3e375d742f8ae31096aef44fc19_0
What else is interesting in this article?
8
What else is interesting in Georg Cantor's article other than Dedekind's response?
Georg Cantor
Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. CANNOTANSWER
Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one.
Georg Ferdinand Ludwig Philipp Cantor ( , ;  – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of. Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian, believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications). The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder. The harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created." Life of Georg Cantor Youth and studies Georg Cantor was born in 1845 in the western merchant colony of Saint Petersburg, Russia, and brought up in the city until he was eleven. Cantor, the oldest of six children, was regarded as an outstanding violinist. His grandfather Franz Böhm (1788–1846) (the violinist Joseph Böhm's brother) was a well-known musician and soloist in a Russian imperial orchestra. Cantor's father had been a member of the Saint Petersburg stock exchange; when he became ill, the family moved to Germany in 1856, first to Wiesbaden, then to Frankfurt, seeking milder winters than those of Saint Petersburg. In 1860, Cantor graduated with distinction from the Realschule in Darmstadt; his exceptional skills in mathematics, trigonometry in particular, were noted. In August 1862, he then graduated from the "Höhere Gewerbeschule Darmstadt", now the Technische Universität Darmstadt. In 1862, Cantor entered the Swiss Federal Polytechnic. After receiving a substantial inheritance upon his father's death in June 1863, Cantor shifted his studies to the University of Berlin, attending lectures by Leopold Kronecker, Karl Weierstrass and Ernst Kummer. He spent the summer of 1866 at the University of Göttingen, then and later a center for mathematical research. Cantor was a good student, and he received his doctorate degree in 1867. Teacher and researcher Cantor submitted his dissertation on number theory at the University of Berlin in 1867. After teaching briefly in a Berlin girls' school, Cantor took up a position at the University of Halle, where he spent his entire career. He was awarded the requisite habilitation for his thesis, also on number theory, which he presented in 1869 upon his appointment at Halle University. In 1874, Cantor married Vally Guttmann. They had six children, the last (Rudolph) born in 1886. Cantor was able to support a family despite modest academic pay, thanks to his inheritance from his father. During his honeymoon in the Harz mountains, Cantor spent much time in mathematical discussions with Richard Dedekind, whom he had met two years earlier while on Swiss holiday. Cantor was promoted to extraordinary professor in 1872 and made full professor in 1879. To attain the latter rank at the age of 34 was a notable accomplishment, but Cantor desired a chair at a more prestigious university, in particular at Berlin, at that time the leading German university. However, his work encountered too much opposition for that to be possible. Kronecker, who headed mathematics at Berlin until his death in 1891, became increasingly uncomfortable with the prospect of having Cantor as a colleague, perceiving him as a "corrupter of youth" for teaching his ideas to a younger generation of mathematicians. Worse yet, Kronecker, a well-established figure within the mathematical community and Cantor's former professor, disagreed fundamentally with the thrust of Cantor's work ever since he intentionally delayed the publication of Cantor's first major publication in 1874. Kronecker, now seen as one of the founders of the constructive viewpoint in mathematics, disliked much of Cantor's set theory because it asserted the existence of sets satisfying certain properties, without giving specific examples of sets whose members did indeed satisfy those properties. Whenever Cantor applied for a post in Berlin, he was declined, and it usually involved Kronecker, so Cantor came to believe that Kronecker's stance would make it impossible for him ever to leave Halle. In 1881, Cantor's Halle colleague Eduard Heine died, creating a vacant chair. Halle accepted Cantor's suggestion that it be offered to Dedekind, Heinrich M. Weber and Franz Mertens, in that order, but each declined the chair after being offered it. Friedrich Wangerin was eventually appointed, but he was never close to Cantor. In 1882, the mathematical correspondence between Cantor and Dedekind came to an end, apparently as a result of Dedekind's declining the chair at Halle. Cantor also began another important correspondence, with Gösta Mittag-Leffler in Sweden, and soon began to publish in Mittag-Leffler's journal Acta Mathematica. But in 1885, Mittag-Leffler was concerned about the philosophical nature and new terminology in a paper Cantor had submitted to Acta. He asked Cantor to withdraw the paper from Acta while it was in proof, writing that it was "... about one hundred years too soon." Cantor complied, but then curtailed his relationship and correspondence with Mittag-Leffler, writing to a third party, "Had Mittag-Leffler had his way, I should have to wait until the year 1984, which to me seemed too great a demand! ... But of course I never want to know anything again about Acta Mathematica." Cantor suffered his first known bout of depression in May 1884. Criticism of his work weighed on his mind: every one of the fifty-two letters he wrote to Mittag-Leffler in 1884 mentioned Kronecker. A passage from one of these letters is revealing of the damage to Cantor's self-confidence: This crisis led him to apply to lecture on philosophy rather than mathematics. He also began an intense study of Elizabethan literature thinking there might be evidence that Francis Bacon wrote the plays attributed to William Shakespeare (see Shakespearean authorship question); this ultimately resulted in two pamphlets, published in 1896 and 1897. Cantor recovered soon thereafter, and subsequently made further important contributions, including his diagonal argument and theorem. However, he never again attained the high level of his remarkable papers of 1874–84, even after Kronecker's death on December 29, 1891. He eventually sought, and achieved, a reconciliation with Kronecker. Nevertheless, the philosophical disagreements and difficulties dividing them persisted. In 1889, Cantor was instrumental in founding the German Mathematical Society and chaired its first meeting in Halle in 1891, where he first introduced his diagonal argument; his reputation was strong enough, despite Kronecker's opposition to his work, to ensure he was elected as the first president of this society. Setting aside the animosity Kronecker had displayed towards him, Cantor invited him to address the meeting, but Kronecker was unable to do so because his wife was dying from injuries sustained in a skiing accident at the time. Georg Cantor was also instrumental in the establishment of the first International Congress of Mathematicians, which was held in Zürich, Switzerland, in 1897. Later years and death After Cantor's 1884 hospitalization, there is no record that he was in any sanatorium again until 1899. Soon after that second hospitalization, Cantor's youngest son Rudolph died suddenly on December 16 (Cantor was delivering a lecture on his views on Baconian theory and William Shakespeare), and this tragedy drained Cantor of much of his passion for mathematics. Cantor was again hospitalized in 1903. One year later, he was outraged and agitated by a paper presented by Julius König at the Third International Congress of Mathematicians. The paper attempted to prove that the basic tenets of transfinite set theory were false. Since the paper had been read in front of his daughters and colleagues, Cantor perceived himself as having been publicly humiliated. Although Ernst Zermelo demonstrated less than a day later that König's proof had failed, Cantor remained shaken, and momentarily questioning God. Cantor suffered from chronic depression for the rest of his life, for which he was excused from teaching on several occasions and repeatedly confined in various sanatoria. The events of 1904 preceded a series of hospitalizations at intervals of two or three years. He did not abandon mathematics completely, however, lecturing on the paradoxes of set theory (Burali-Forti paradox, Cantor's paradox, and Russell's paradox) to a meeting of the Deutsche Mathematiker-Vereinigung in 1903, and attending the International Congress of Mathematicians at Heidelberg in 1904. In 1911, Cantor was one of the distinguished foreign scholars invited to attend the 500th anniversary of the founding of the University of St. Andrews in Scotland. Cantor attended, hoping to meet Bertrand Russell, whose newly published Principia Mathematica repeatedly cited Cantor's work, but this did not come about. The following year, St. Andrews awarded Cantor an honorary doctorate, but illness precluded his receiving the degree in person. Cantor retired in 1913, living in poverty and suffering from malnourishment during World War I. The public celebration of his 70th birthday was canceled because of the war. In June 1917, he entered a sanatorium for the last time and continually wrote to his wife asking to be allowed to go home. Georg Cantor had a fatal heart attack on January 6, 1918, in the sanatorium where he had spent the last year of his life. Mathematical work Cantor's work between 1874 and 1884 is the origin of set theory. Prior to this work, the concept of a set was a rather elementary one that had been used implicitly since the beginning of mathematics, dating back to the ideas of Aristotle. No one had realized that set theory had any nontrivial content. Before Cantor, there were only finite sets (which are easy to understand) and "the infinite" (which was considered a topic for philosophical, rather than mathematical, discussion). By proving that there are (infinitely) many possible sizes for infinite sets, Cantor established that set theory was not trivial, and it needed to be studied. Set theory has come to play the role of a foundational theory in modern mathematics, in the sense that it interprets propositions about mathematical objects (for example, numbers and functions) from all the traditional areas of mathematics (such as algebra, analysis and topology) in a single theory, and provides a standard set of axioms to prove or disprove them. The basic concepts of set theory are now used throughout mathematics. In one of his earliest papers, Cantor proved that the set of real numbers is "more numerous" than the set of natural numbers; this showed, for the first time, that there exist infinite sets of different sizes. He was also the first to appreciate the importance of one-to-one correspondences (hereinafter denoted "1-to-1 correspondence") in set theory. He used this concept to define finite and infinite sets, subdividing the latter into denumerable (or countably infinite) sets and nondenumerable sets (uncountably infinite sets). Cantor developed important concepts in topology and their relation to cardinality. For example, he showed that the Cantor set, discovered by Henry John Stephen Smith in 1875, is nowhere dense, but has the same cardinality as the set of all real numbers, whereas the rationals are everywhere dense, but countable. He also showed that all countable dense linear orders without end points are order-isomorphic to the rational numbers. Cantor introduced fundamental constructions in set theory, such as the power set of a set A, which is the set of all possible subsets of A. He later proved that the size of the power set of A is strictly larger than the size of A, even when A is an infinite set; this result soon became known as Cantor's theorem. Cantor developed an entire theory and arithmetic of infinite sets, called cardinals and ordinals, which extended the arithmetic of the natural numbers. His notation for the cardinal numbers was the Hebrew letter (aleph) with a natural number subscript; for the ordinals he employed the Greek letter ω (omega). This notation is still in use today. The Continuum hypothesis, introduced by Cantor, was presented by David Hilbert as the first of his twenty-three open problems in his address at the 1900 International Congress of Mathematicians in Paris. Cantor's work also attracted favorable notice beyond Hilbert's celebrated encomium. The US philosopher Charles Sanders Peirce praised Cantor's set theory and, following public lectures delivered by Cantor at the first International Congress of Mathematicians, held in Zurich in 1897, Adolf Hurwitz and Jacques Hadamard also both expressed their admiration. At that Congress, Cantor renewed his friendship and correspondence with Dedekind. From 1905, Cantor corresponded with his British admirer and translator Philip Jourdain on the history of set theory and on Cantor's religious ideas. This was later published, as were several of his expository works. Number theory, trigonometric series and ordinals Cantor's first ten papers were on number theory, his thesis topic. At the suggestion of Eduard Heine, the Professor at Halle, Cantor turned to analysis. Heine proposed that Cantor solve an open problem that had eluded Peter Gustav Lejeune Dirichlet, Rudolf Lipschitz, Bernhard Riemann, and Heine himself: the uniqueness of the representation of a function by trigonometric series. Cantor solved this problem in 1869. It was while working on this problem that he discovered transfinite ordinals, which occurred as indices n in the nth derived set Sn of a set S of zeros of a trigonometric series. Given a trigonometric series f(x) with S as its set of zeros, Cantor had discovered a procedure that produced another trigonometric series that had S1 as its set of zeros, where S1 is the set of limit points of S. If Sk+1 is the set of limit points of Sk, then he could construct a trigonometric series whose zeros are Sk+1. Because the sets Sk were closed, they contained their limit points, and the intersection of the infinite decreasing sequence of sets S, S1, S2, S3,... formed a limit set, which we would now call Sω, and then he noticed that Sω would also have to have a set of limit points Sω+1, and so on. He had examples that went on forever, and so here was a naturally occurring infinite sequence of infinite numbers ω, ω + 1, ω + 2, ... Between 1870 and 1872, Cantor published more papers on trigonometric series, and also a paper defining irrational numbers as convergent sequences of rational numbers. Dedekind, whom Cantor befriended in 1872, cited this paper later that year, in the paper where he first set out his celebrated definition of real numbers by Dedekind cuts. While extending the notion of number by means of his revolutionary concept of infinite cardinality, Cantor was paradoxically opposed to theories of infinitesimals of his contemporaries Otto Stolz and Paul du Bois-Reymond, describing them as both "an abomination" and "a cholera bacillus of mathematics". Cantor also published an erroneous "proof" of the inconsistency of infinitesimals. Set theory The beginning of set theory as a branch of mathematics is often marked by the publication of Cantor's 1874 paper, "Ueber eine Eigenschaft des Inbegriffes aller reellen algebraischen Zahlen" ("On a Property of the Collection of All Real Algebraic Numbers"). This paper was the first to provide a rigorous proof that there was more than one kind of infinity. Previously, all infinite collections had been implicitly assumed to be equinumerous (that is, of "the same size" or having the same number of elements). Cantor proved that the collection of real numbers and the collection of positive integers are not equinumerous. In other words, the real numbers are not countable. His proof differs from the diagonal argument that he gave in 1891. Cantor's article also contains a new method of constructing transcendental numbers. Transcendental numbers were first constructed by Joseph Liouville in 1844. Cantor established these results using two constructions. His first construction shows how to write the real algebraic numbers as a sequence a1, a2, a3, .... In other words, the real algebraic numbers are countable. Cantor starts his second construction with any sequence of real numbers. Using this sequence, he constructs nested intervals whose intersection contains a real number not in the sequence. Since every sequence of real numbers can be used to construct a real not in the sequence, the real numbers cannot be written as a sequence – that is, the real numbers are not countable. By applying his construction to the sequence of real algebraic numbers, Cantor produces a transcendental number. Cantor points out that his constructions prove more – namely, they provide a new proof of Liouville's theorem: Every interval contains infinitely many transcendental numbers. Cantor's next article contains a construction that proves the set of transcendental numbers has the same "power" (see below) as the set of real numbers. Between 1879 and 1884, Cantor published a series of six articles in Mathematische Annalen that together formed an introduction to his set theory. At the same time, there was growing opposition to Cantor's ideas, led by Leopold Kronecker, who admitted mathematical concepts only if they could be constructed in a finite number of steps from the natural numbers, which he took as intuitively given. For Kronecker, Cantor's hierarchy of infinities was inadmissible, since accepting the concept of actual infinity would open the door to paradoxes which would challenge the validity of mathematics as a whole. Cantor also introduced the Cantor set during this period. The fifth paper in this series, "Grundlagen einer allgemeinen Mannigfaltigkeitslehre" ("Foundations of a General Theory of Aggregates"), published in 1883, was the most important of the six and was also published as a separate monograph. It contained Cantor's reply to his critics and showed how the transfinite numbers were a systematic extension of the natural numbers. It begins by defining well-ordered sets. Ordinal numbers are then introduced as the order types of well-ordered sets. Cantor then defines the addition and multiplication of the cardinal and ordinal numbers. In 1885, Cantor extended his theory of order types so that the ordinal numbers simply became a special case of order types. In 1891, he published a paper containing his elegant "diagonal argument" for the existence of an uncountable set. He applied the same idea to prove Cantor's theorem: the cardinality of the power set of a set A is strictly larger than the cardinality of A. This established the richness of the hierarchy of infinite sets, and of the cardinal and ordinal arithmetic that Cantor had defined. His argument is fundamental in the solution of the Halting problem and the proof of Gödel's first incompleteness theorem. Cantor wrote on the Goldbach conjecture in 1894. In 1895 and 1897, Cantor published a two-part paper in Mathematische Annalen under Felix Klein's editorship; these were his last significant papers on set theory. The first paper begins by defining set, subset, etc., in ways that would be largely acceptable now. The cardinal and ordinal arithmetic are reviewed. Cantor wanted the second paper to include a proof of the continuum hypothesis, but had to settle for expositing his theory of well-ordered sets and ordinal numbers. Cantor attempts to prove that if A and B are sets with A equivalent to a subset of B and B equivalent to a subset of A, then A and B are equivalent. Ernst Schröder had stated this theorem a bit earlier, but his proof, as well as Cantor's, was flawed. Felix Bernstein supplied a correct proof in his 1898 PhD thesis; hence the name Cantor–Bernstein–Schröder theorem. One-to-one correspondence Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Karl Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. Continuum hypothesis Cantor was the first to formulate what later came to be known as the continuum hypothesis or CH: there exists no set whose power is greater than that of the naturals and less than that of the reals (or equivalently, the cardinality of the reals is exactly aleph-one, rather than just at least aleph-one). Cantor believed the continuum hypothesis to be true and tried for many years to prove it, in vain. His inability to prove the continuum hypothesis caused him considerable anxiety. The difficulty Cantor had in proving the continuum hypothesis has been underscored by later developments in the field of mathematics: a 1940 result by Kurt Gödel and a 1963 one by Paul Cohen together imply that the continuum hypothesis can be neither proved nor disproved using standard Zermelo–Fraenkel set theory plus the axiom of choice (the combination referred to as "ZFC"). Absolute infinite, well-ordering theorem, and paradoxes In 1883, Cantor divided the infinite into the transfinite and the absolute. The transfinite is increasable in magnitude, while the absolute is unincreasable. For example, an ordinal α is transfinite because it can be increased to α + 1. On the other hand, the ordinals form an absolutely infinite sequence that cannot be increased in magnitude because there are no larger ordinals to add to it. In 1883, Cantor also introduced the well-ordering principle "every set can be well-ordered" and stated that it is a "law of thought". Cantor extended his work on the absolute infinite by using it in a proof. Around 1895, he began to regard his well-ordering principle as a theorem and attempted to prove it. In 1899, he sent Dedekind a proof of the equivalent aleph theorem: the cardinality of every infinite set is an aleph. First, he defined two types of multiplicities: consistent multiplicities (sets) and inconsistent multiplicities (absolutely infinite multiplicities). Next he assumed that the ordinals form a set, proved that this leads to a contradiction, and concluded that the ordinals form an inconsistent multiplicity. He used this inconsistent multiplicity to prove the aleph theorem. In 1932, Zermelo criticized the construction in Cantor's proof. Cantor avoided paradoxes by recognizing that there are two types of multiplicities. In his set theory, when it is assumed that the ordinals form a set, the resulting contradiction implies only that the ordinals form an inconsistent multiplicity. In contrast, Bertrand Russell treated all collections as sets, which leads to paradoxes. In Russell's set theory, the ordinals form a set, so the resulting contradiction implies that the theory is inconsistent. From 1901 to 1903, Russell discovered three paradoxes implying that his set theory is inconsistent: the Burali-Forti paradox (which was just mentioned), Cantor's paradox, and Russell's paradox. Russell named paradoxes after Cesare Burali-Forti and Cantor even though neither of them believed that they had found paradoxes. In 1908, Zermelo published his axiom system for set theory. He had two motivations for developing the axiom system: eliminating the paradoxes and securing his proof of the well-ordering theorem. Zermelo had proved this theorem in 1904 using the axiom of choice, but his proof was criticized for a variety of reasons. His response to the criticism included his axiom system and a new proof of the well-ordering theorem. His axioms support this new proof, and they eliminate the paradoxes by restricting the formation of sets. In 1923, John von Neumann developed an axiom system that eliminates the paradoxes by using an approach similar to Cantor's—namely, by identifying collections that are not sets and treating them differently. Von Neumann stated that a class is too big to be a set if it can be put into one-to-one correspondence with the class of all sets. He defined a set as a class that is a member of some class and stated the axiom: A class is not a set if and only if there is a one-to-one correspondence between it and the class of all sets. This axiom implies that these big classes are not sets, which eliminates the paradoxes since they cannot be members of any class. Von Neumann also used his axiom to prove the well-ordering theorem: Like Cantor, he assumed that the ordinals form a set. The resulting contradiction implies that the class of all ordinals is not a set. Then his axiom provides a one-to-one correspondence between this class and the class of all sets. This correspondence well-orders the class of all sets, which implies the well-ordering theorem. In 1930, Zermelo defined models of set theory that satisfy von Neumann's axiom. Philosophy, religion, literature and Cantor's mathematics The concept of the existence of an actual infinity was an important shared concern within the realms of mathematics, philosophy and religion. Preserving the orthodoxy of the relationship between God and mathematics, although not in the same form as held by his critics, was long a concern of Cantor's. He directly addressed this intersection between these disciplines in the introduction to his Grundlagen einer allgemeinen Mannigfaltigkeitslehre, where he stressed the connection between his view of the infinite and the philosophical one. To Cantor, his mathematical views were intrinsically linked to their philosophical and theological implications – he identified the Absolute Infinite with God, and he considered his work on transfinite numbers to have been directly communicated to him by God, who had chosen Cantor to reveal them to the world. He was a devout Lutheran whose explicit Christian beliefs shaped his philosophy of science. Joseph Dauben has traced the effect Cantor's Christian convictions had on the development of transfinite set theory. Debate among mathematicians grew out of opposing views in the philosophy of mathematics regarding the nature of actual infinity. Some held to the view that infinity was an abstraction which was not mathematically legitimate, and denied its existence. Mathematicians from three major schools of thought (constructivism and its two offshoots, intuitionism and finitism) opposed Cantor's theories in this matter. For constructivists such as Kronecker, this rejection of actual infinity stems from fundamental disagreement with the idea that nonconstructive proofs such as Cantor's diagonal argument are sufficient proof that something exists, holding instead that constructive proofs are required. Intuitionism also rejects the idea that actual infinity is an expression of any sort of reality, but arrive at the decision via a different route than constructivism. Firstly, Cantor's argument rests on logic to prove the existence of transfinite numbers as an actual mathematical entity, whereas intuitionists hold that mathematical entities cannot be reduced to logical propositions, originating instead in the intuitions of the mind. Secondly, the notion of infinity as an expression of reality is itself disallowed in intuitionism, since the human mind cannot intuitively construct an infinite set. Mathematicians such as L. E. J. Brouwer and especially Henri Poincaré adopted an intuitionist stance against Cantor's work. Finally, Wittgenstein's attacks were finitist: he believed that Cantor's diagonal argument conflated the intension of a set of cardinal or real numbers with its extension, thus conflating the concept of rules for generating a set with an actual set. Some Christian theologians saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God. In particular, neo-Thomist thinkers saw the existence of an actual infinity that consisted of something other than God as jeopardizing "God's exclusive claim to supreme infinity". Cantor strongly believed that this view was a misinterpretation of infinity, and was convinced that set theory could help correct this mistake: "... the transfinite species are just as much at the disposal of the intentions of the Creator and His absolute boundless will as are the finite numbers.". It is to note that prominent neo-scholastic german philosopher Constantin Gutberlet was in favor of such theory, holding that it didn't oppose the nature of God. Cantor also believed that his theory of transfinite numbers ran counter to both materialism and determinism – and was shocked when he realized that he was the only faculty member at Halle who did not hold to deterministic philosophical beliefs. It was important to Cantor that his philosophy provided an "organic explanation" of nature, and in his 1883 Grundlagen, he said that such an explanation could only come about by drawing on the resources of the philosophy of Spinoza and Leibniz. In making these claims, Cantor may have been influenced by FA Trendelenburg, whose lecture courses he attended at Berlin, and in turn Cantor produced a Latin commentary on Book 1 of Spinoza's Ethica. FA Trendelenburg was also the examiner of Cantor's Habilitationsschrift. In 1888, Cantor published his correspondence with several philosophers on the philosophical implications of his set theory. In an extensive attempt to persuade other Christian thinkers and authorities to adopt his views, Cantor had corresponded with Christian philosophers such as Tilman Pesch and Joseph Hontheim, as well as theologians such as Cardinal Johann Baptist Franzelin, who once replied by equating the theory of transfinite numbers with pantheism. Although later this Cardinal accepted the theory as valid, due to some clarifications from Cantor's. Cantor even sent one letter directly to Pope Leo XIII himself, and addressed several pamphlets to him. Cantor's philosophy on the nature of numbers led him to affirm a belief in the freedom of mathematics to posit and prove concepts apart from the realm of physical phenomena, as expressions within an internal reality. The only restrictions on this metaphysical system are that all mathematical concepts must be devoid of internal contradiction, and that they follow from existing definitions, axioms, and theorems. This belief is summarized in his assertion that "the essence of mathematics is its freedom." These ideas parallel those of Edmund Husserl, whom Cantor had met in Halle. Meanwhile, Cantor himself was fiercely opposed to infinitesimals, describing them as both an "abomination" and "the cholera bacillus of mathematics". Cantor's 1883 paper reveals that he was well aware of the opposition his ideas were encountering: "... I realize that in this undertaking I place myself in a certain opposition to views widely held concerning the mathematical infinite and to opinions frequently defended on the nature of numbers." Hence he devotes much space to justifying his earlier work, asserting that mathematical concepts may be freely introduced as long as they are free of contradiction and defined in terms of previously accepted concepts. He also cites Aristotle, René Descartes, George Berkeley, Gottfried Leibniz, and Bernard Bolzano on infinity. Instead, he always strongly rejected Kant's philosophy, in the realms of both the philosophy of mathematics and metaphysics. He shared B. Russell's motto "Kant or Cantor", and defined Kant "yonder sophistical Philistine who knew so little mathematics." Cantor's ancestry Cantor's paternal grandparents were from Copenhagen and fled to Russia from the disruption of the Napoleonic Wars. There is very little direct information on them. Cantor's father, Georg Waldemar Cantor, was educated in the Lutheran mission in Saint Petersburg, and his correspondence with his son shows both of them as devout Lutherans. Very little is known for sure about Georg Waldemar's origin or education. Cantor's mother, Maria Anna Böhm, was an Austro-Hungarian born in Saint Petersburg and baptized Roman Catholic; she converted to Protestantism upon marriage. However, there is a letter from Cantor's brother Louis to their mother, stating: ("Even if we were descended from Jews ten times over, and even though I may be, in principle, completely in favour of equal rights for Hebrews, in social life I prefer Christians...") which could be read to imply that she was of Jewish ancestry. According to biographers Eric Temple Bell, Cantor was of Jewish descent, although both parents were baptized. In a 1971 article entitled "Towards a Biography of Georg Cantor", the British historian of mathematics Ivor Grattan-Guinness mentions (Annals of Science 27, pp. 345–391, 1971) that he was unable to find evidence of Jewish ancestry. (He also states that Cantor's wife, Vally Guttmann, was Jewish). In a letter written to Paul Tannery in 1896 (Paul Tannery, Memoires Scientifique 13 Correspondence, Gauthier-Villars, Paris, 1934, p. 306), Cantor states that his paternal grandparents were members of the Sephardic Jewish community of Copenhagen. Specifically, Cantor states in describing his father: "Er ist aber in Kopenhagen geboren, von israelitischen Eltern, die der dortigen portugisischen Judengemeinde...." ("He was born in Copenhagen of Jewish (lit: 'Israelite') parents from the local Portuguese-Jewish community.") In addition, Cantor's maternal great uncle, a Hungarian violinist Josef Böhm, has been described as Jewish, which may imply that Cantor's mother was at least partly descended from the Hungarian Jewish community. In a letter to Bertrand Russell, Cantor described his ancestry and self-perception as follows: There were documented statements, during the 1930s, that called this Jewish ancestry into question: Biographies Until the 1970s, the chief academic publications on Cantor were two short monographs by Arthur Moritz Schönflies (1927) – largely the correspondence with Mittag-Leffler – and Fraenkel (1930). Both were at second and third hand; neither had much on his personal life. The gap was largely filled by Eric Temple Bell's Men of Mathematics (1937), which one of Cantor's modern biographers describes as "perhaps the most widely read modern book on the history of mathematics"; and as "one of the worst". Bell presents Cantor's relationship with his father as Oedipal, Cantor's differences with Kronecker as a quarrel between two Jews, and Cantor's madness as Romantic despair over his failure to win acceptance for his mathematics. Grattan-Guinness (1971) found that none of these claims were true, but they may be found in many books of the intervening period, owing to the absence of any other narrative. There are other legends, independent of Bell – including one that labels Cantor's father a foundling, shipped to Saint Petersburg by unknown parents. A critique of Bell's book is contained in Joseph Dauben's biography. Writes Dauben: See also Absolute Infinite Aleph number Cardinality of the continuum Cantor algebra Cantor cube Cantor distribution Cantor function Cantor medal – award by the Deutsche Mathematiker-Vereinigung in honor of Georg Cantor Cantor normal form theorem Cantor space Cantor tree surface Cantor's back-and-forth method Cantor's diagonal argument Cantor's intersection theorem Cantor's isomorphism theorem Cantor's first set theory article Cantor's paradox Cantor's theorem Cantor's leaky tent Cantor–Bendixson theorem Cantor–Dedekind axiom Cantor–Schröder–Bernstein Cantor–Bernstein theorem Cantor set Cardinal number Continuum hypothesis Countable set Derived set (mathematics) Epsilon numbers (mathematics) Factorial number system Heine–Cantor theorem Pairing function Smith–Volterra–Cantor set Transfinite number Notes References . . Internet version published in Journal of the ACMS 2004. Note, though, that Cantor's Latin quotation described in this article as a familiar passage from the Bible is actually from the works of Seneca and has no implication of divine revelation. . . . . . . . . . . Although the presentation is axiomatic rather than naive, Suppes proves and discusses many of Cantor's results, which demonstrates Cantor's continued importance for the edifice of foundational mathematics. . . . Bibliography Older sources on Cantor's life should be treated with caution. See section § Biographies above. Primary literature in English . Primary literature in German . Published separately as: Grundlagen einer allgemeinen Mannigfaltigkeitslehre. . Almost everything that Cantor wrote. Includes excerpts of his correspondence with Dedekind (p. 443–451) and Fraenkel's Cantor biography (p. 452–483) in the appendix. Secondary literature . . A popular treatment of infinity, in which Cantor is frequently mentioned. . Contains a detailed treatment of both Cantor's and Dedekind's contributions to set theory. . . Three chapters and 18 index entries on Cantor. Newstead, Anne (2009). "Cantor on Infinity in Nature, Number, and the Divine Mind", American Catholic Philosophical Quarterly, 83 (4): 532–553, https://doi.org/10.5840/acpq200983444. With acknowledgement of Dauben's pioneering historical work, this article further discusses Cantor's relation to the philosophy of Spinoza and Leibniz in depth, and his engagement in the Pantheismusstreit. Brief mention is made of Cantor's learning from F.A.Trendelenburg. . Chapter 16 illustrates how Cantorian thinking intrigues a leading contemporary theoretical physicist. . Deals with similar topics to Aczel, but in more depth. . Leonida Lazzari, L'infinito di Cantor. Editrice Pitagora, Bologna, 2008. External links Mainly devoted to Cantor's accomplishment. Stanford Encyclopedia of Philosophy: Set theory by Thomas Jech. The Early Development of Set Theory by José Ferreirós. "Cantor infinities", analysis of Cantor's 1874 article, BibNum (for English version, click 'à télécharger'). There is an error in this analysis. It states Cantor's Theorem 1 correctly: Algebraic numbers can be counted. However, it states his Theorem 2 incorrectly: Real numbers cannot be counted. It then says: "Cantor notes that, taken together, Theorems 1 and 2 allow for the redemonstration of the existence of non-algebraic real numbers …" This existence demonstration is non-constructive. Theorem 2 stated correctly is: Given a sequence of real numbers, one can determine a real number that is not in the sequence. Taken together, Theorem 1 and this Theorem 2 produce a non-algebraic number. Cantor also used Theorem 2 to prove that the real numbers cannot be counted. See Cantor's first set theory article or Georg Cantor and Transcendental Numbers. People from Saint Petersburg German logicians Set theorists 19th-century German writers 19th-century German male writers 20th-century German writers 19th-century German mathematicians 20th-century German mathematicians 19th-century philosophers 20th-century German philosophers Martin Luther University of Halle-Wittenberg faculty ETH Zurich alumni German Lutherans People with bipolar disorder Baltic-German people 1845 births 1918 deaths Technische Universität Darmstadt alumni
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[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer" ]
[ "Georg Cantor", "One-to-one correspondence", "What is one-to-one correspondence?", "He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment.", "What year was he doing his work on this?", "In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence", "What is Crelle's Journal?", "I don't know.", "How was his paper accepted?", "This paper displeased Kronecker, and Cantor wanted to withdraw it;", "Why did it displease Kronecker?", "I don't know.", "Did he work with any other collegues during this time?", "In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points", "How did Dedekind accept this new result?", "Cantor wrote to Dedekind: \"Je le vois, mais je ne le crois pas!\" (\"I see it, but I don't believe it!\")", "What else is interesting in this article?", "Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one." ]
C_002fb3e375d742f8ae31096aef44fc19_0
Was his work in this field unique?
9
Was Cantor's work in one-on-one correspondence field unique?
Georg Cantor
Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "Je le vois, mais je ne le crois pas!" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker, and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. CANNOTANSWER
CANNOTANSWER
Georg Ferdinand Ludwig Philipp Cantor ( , ;  – January 6, 1918) was a German mathematician. He created set theory, which has become a fundamental theory in mathematics. Cantor established the importance of one-to-one correspondence between the members of two sets, defined infinite and well-ordered sets, and proved that the real numbers are more numerous than the natural numbers. In fact, Cantor's method of proof of this theorem implies the existence of an infinity of infinities. He defined the cardinal and ordinal numbers and their arithmetic. Cantor's work is of great philosophical interest, a fact he was well aware of. Cantor's theory of transfinite numbers was originally regarded as so counter-intuitive – even shocking – that it encountered resistance from mathematical contemporaries such as Leopold Kronecker and Henri Poincaré and later from Hermann Weyl and L. E. J. Brouwer, while Ludwig Wittgenstein raised philosophical objections. Cantor, a devout Lutheran Christian, believed the theory had been communicated to him by God. Some Christian theologians (particularly neo-Scholastics) saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God – on one occasion equating the theory of transfinite numbers with pantheism – a proposition that Cantor vigorously rejected. It is important to note that not all theologians were against Cantor's theory, prominent neo-scholastic philosopher Constantin Gutberlet was in favor of it and Cardinal Johann Baptist Franzelin accepted it as a valid theory (after Cantor made some important clarifications). The objections to Cantor's work were occasionally fierce: Leopold Kronecker's public opposition and personal attacks included describing Cantor as a "scientific charlatan", a "renegade" and a "corrupter of youth". Kronecker objected to Cantor's proofs that the algebraic numbers are countable, and that the transcendental numbers are uncountable, results now included in a standard mathematics curriculum. Writing decades after Cantor's death, Wittgenstein lamented that mathematics is "ridden through and through with the pernicious idioms of set theory", which he dismissed as "utter nonsense" that is "laughable" and "wrong". Cantor's recurring bouts of depression from 1884 to the end of his life have been blamed on the hostile attitude of many of his contemporaries, though some have explained these episodes as probable manifestations of a bipolar disorder. The harsh criticism has been matched by later accolades. In 1904, the Royal Society awarded Cantor its Sylvester Medal, the highest honor it can confer for work in mathematics. David Hilbert defended it from its critics by declaring, "No one shall expel us from the paradise that Cantor has created." Life of Georg Cantor Youth and studies Georg Cantor was born in 1845 in the western merchant colony of Saint Petersburg, Russia, and brought up in the city until he was eleven. Cantor, the oldest of six children, was regarded as an outstanding violinist. His grandfather Franz Böhm (1788–1846) (the violinist Joseph Böhm's brother) was a well-known musician and soloist in a Russian imperial orchestra. Cantor's father had been a member of the Saint Petersburg stock exchange; when he became ill, the family moved to Germany in 1856, first to Wiesbaden, then to Frankfurt, seeking milder winters than those of Saint Petersburg. In 1860, Cantor graduated with distinction from the Realschule in Darmstadt; his exceptional skills in mathematics, trigonometry in particular, were noted. In August 1862, he then graduated from the "Höhere Gewerbeschule Darmstadt", now the Technische Universität Darmstadt. In 1862, Cantor entered the Swiss Federal Polytechnic. After receiving a substantial inheritance upon his father's death in June 1863, Cantor shifted his studies to the University of Berlin, attending lectures by Leopold Kronecker, Karl Weierstrass and Ernst Kummer. He spent the summer of 1866 at the University of Göttingen, then and later a center for mathematical research. Cantor was a good student, and he received his doctorate degree in 1867. Teacher and researcher Cantor submitted his dissertation on number theory at the University of Berlin in 1867. After teaching briefly in a Berlin girls' school, Cantor took up a position at the University of Halle, where he spent his entire career. He was awarded the requisite habilitation for his thesis, also on number theory, which he presented in 1869 upon his appointment at Halle University. In 1874, Cantor married Vally Guttmann. They had six children, the last (Rudolph) born in 1886. Cantor was able to support a family despite modest academic pay, thanks to his inheritance from his father. During his honeymoon in the Harz mountains, Cantor spent much time in mathematical discussions with Richard Dedekind, whom he had met two years earlier while on Swiss holiday. Cantor was promoted to extraordinary professor in 1872 and made full professor in 1879. To attain the latter rank at the age of 34 was a notable accomplishment, but Cantor desired a chair at a more prestigious university, in particular at Berlin, at that time the leading German university. However, his work encountered too much opposition for that to be possible. Kronecker, who headed mathematics at Berlin until his death in 1891, became increasingly uncomfortable with the prospect of having Cantor as a colleague, perceiving him as a "corrupter of youth" for teaching his ideas to a younger generation of mathematicians. Worse yet, Kronecker, a well-established figure within the mathematical community and Cantor's former professor, disagreed fundamentally with the thrust of Cantor's work ever since he intentionally delayed the publication of Cantor's first major publication in 1874. Kronecker, now seen as one of the founders of the constructive viewpoint in mathematics, disliked much of Cantor's set theory because it asserted the existence of sets satisfying certain properties, without giving specific examples of sets whose members did indeed satisfy those properties. Whenever Cantor applied for a post in Berlin, he was declined, and it usually involved Kronecker, so Cantor came to believe that Kronecker's stance would make it impossible for him ever to leave Halle. In 1881, Cantor's Halle colleague Eduard Heine died, creating a vacant chair. Halle accepted Cantor's suggestion that it be offered to Dedekind, Heinrich M. Weber and Franz Mertens, in that order, but each declined the chair after being offered it. Friedrich Wangerin was eventually appointed, but he was never close to Cantor. In 1882, the mathematical correspondence between Cantor and Dedekind came to an end, apparently as a result of Dedekind's declining the chair at Halle. Cantor also began another important correspondence, with Gösta Mittag-Leffler in Sweden, and soon began to publish in Mittag-Leffler's journal Acta Mathematica. But in 1885, Mittag-Leffler was concerned about the philosophical nature and new terminology in a paper Cantor had submitted to Acta. He asked Cantor to withdraw the paper from Acta while it was in proof, writing that it was "... about one hundred years too soon." Cantor complied, but then curtailed his relationship and correspondence with Mittag-Leffler, writing to a third party, "Had Mittag-Leffler had his way, I should have to wait until the year 1984, which to me seemed too great a demand! ... But of course I never want to know anything again about Acta Mathematica." Cantor suffered his first known bout of depression in May 1884. Criticism of his work weighed on his mind: every one of the fifty-two letters he wrote to Mittag-Leffler in 1884 mentioned Kronecker. A passage from one of these letters is revealing of the damage to Cantor's self-confidence: This crisis led him to apply to lecture on philosophy rather than mathematics. He also began an intense study of Elizabethan literature thinking there might be evidence that Francis Bacon wrote the plays attributed to William Shakespeare (see Shakespearean authorship question); this ultimately resulted in two pamphlets, published in 1896 and 1897. Cantor recovered soon thereafter, and subsequently made further important contributions, including his diagonal argument and theorem. However, he never again attained the high level of his remarkable papers of 1874–84, even after Kronecker's death on December 29, 1891. He eventually sought, and achieved, a reconciliation with Kronecker. Nevertheless, the philosophical disagreements and difficulties dividing them persisted. In 1889, Cantor was instrumental in founding the German Mathematical Society and chaired its first meeting in Halle in 1891, where he first introduced his diagonal argument; his reputation was strong enough, despite Kronecker's opposition to his work, to ensure he was elected as the first president of this society. Setting aside the animosity Kronecker had displayed towards him, Cantor invited him to address the meeting, but Kronecker was unable to do so because his wife was dying from injuries sustained in a skiing accident at the time. Georg Cantor was also instrumental in the establishment of the first International Congress of Mathematicians, which was held in Zürich, Switzerland, in 1897. Later years and death After Cantor's 1884 hospitalization, there is no record that he was in any sanatorium again until 1899. Soon after that second hospitalization, Cantor's youngest son Rudolph died suddenly on December 16 (Cantor was delivering a lecture on his views on Baconian theory and William Shakespeare), and this tragedy drained Cantor of much of his passion for mathematics. Cantor was again hospitalized in 1903. One year later, he was outraged and agitated by a paper presented by Julius König at the Third International Congress of Mathematicians. The paper attempted to prove that the basic tenets of transfinite set theory were false. Since the paper had been read in front of his daughters and colleagues, Cantor perceived himself as having been publicly humiliated. Although Ernst Zermelo demonstrated less than a day later that König's proof had failed, Cantor remained shaken, and momentarily questioning God. Cantor suffered from chronic depression for the rest of his life, for which he was excused from teaching on several occasions and repeatedly confined in various sanatoria. The events of 1904 preceded a series of hospitalizations at intervals of two or three years. He did not abandon mathematics completely, however, lecturing on the paradoxes of set theory (Burali-Forti paradox, Cantor's paradox, and Russell's paradox) to a meeting of the Deutsche Mathematiker-Vereinigung in 1903, and attending the International Congress of Mathematicians at Heidelberg in 1904. In 1911, Cantor was one of the distinguished foreign scholars invited to attend the 500th anniversary of the founding of the University of St. Andrews in Scotland. Cantor attended, hoping to meet Bertrand Russell, whose newly published Principia Mathematica repeatedly cited Cantor's work, but this did not come about. The following year, St. Andrews awarded Cantor an honorary doctorate, but illness precluded his receiving the degree in person. Cantor retired in 1913, living in poverty and suffering from malnourishment during World War I. The public celebration of his 70th birthday was canceled because of the war. In June 1917, he entered a sanatorium for the last time and continually wrote to his wife asking to be allowed to go home. Georg Cantor had a fatal heart attack on January 6, 1918, in the sanatorium where he had spent the last year of his life. Mathematical work Cantor's work between 1874 and 1884 is the origin of set theory. Prior to this work, the concept of a set was a rather elementary one that had been used implicitly since the beginning of mathematics, dating back to the ideas of Aristotle. No one had realized that set theory had any nontrivial content. Before Cantor, there were only finite sets (which are easy to understand) and "the infinite" (which was considered a topic for philosophical, rather than mathematical, discussion). By proving that there are (infinitely) many possible sizes for infinite sets, Cantor established that set theory was not trivial, and it needed to be studied. Set theory has come to play the role of a foundational theory in modern mathematics, in the sense that it interprets propositions about mathematical objects (for example, numbers and functions) from all the traditional areas of mathematics (such as algebra, analysis and topology) in a single theory, and provides a standard set of axioms to prove or disprove them. The basic concepts of set theory are now used throughout mathematics. In one of his earliest papers, Cantor proved that the set of real numbers is "more numerous" than the set of natural numbers; this showed, for the first time, that there exist infinite sets of different sizes. He was also the first to appreciate the importance of one-to-one correspondences (hereinafter denoted "1-to-1 correspondence") in set theory. He used this concept to define finite and infinite sets, subdividing the latter into denumerable (or countably infinite) sets and nondenumerable sets (uncountably infinite sets). Cantor developed important concepts in topology and their relation to cardinality. For example, he showed that the Cantor set, discovered by Henry John Stephen Smith in 1875, is nowhere dense, but has the same cardinality as the set of all real numbers, whereas the rationals are everywhere dense, but countable. He also showed that all countable dense linear orders without end points are order-isomorphic to the rational numbers. Cantor introduced fundamental constructions in set theory, such as the power set of a set A, which is the set of all possible subsets of A. He later proved that the size of the power set of A is strictly larger than the size of A, even when A is an infinite set; this result soon became known as Cantor's theorem. Cantor developed an entire theory and arithmetic of infinite sets, called cardinals and ordinals, which extended the arithmetic of the natural numbers. His notation for the cardinal numbers was the Hebrew letter (aleph) with a natural number subscript; for the ordinals he employed the Greek letter ω (omega). This notation is still in use today. The Continuum hypothesis, introduced by Cantor, was presented by David Hilbert as the first of his twenty-three open problems in his address at the 1900 International Congress of Mathematicians in Paris. Cantor's work also attracted favorable notice beyond Hilbert's celebrated encomium. The US philosopher Charles Sanders Peirce praised Cantor's set theory and, following public lectures delivered by Cantor at the first International Congress of Mathematicians, held in Zurich in 1897, Adolf Hurwitz and Jacques Hadamard also both expressed their admiration. At that Congress, Cantor renewed his friendship and correspondence with Dedekind. From 1905, Cantor corresponded with his British admirer and translator Philip Jourdain on the history of set theory and on Cantor's religious ideas. This was later published, as were several of his expository works. Number theory, trigonometric series and ordinals Cantor's first ten papers were on number theory, his thesis topic. At the suggestion of Eduard Heine, the Professor at Halle, Cantor turned to analysis. Heine proposed that Cantor solve an open problem that had eluded Peter Gustav Lejeune Dirichlet, Rudolf Lipschitz, Bernhard Riemann, and Heine himself: the uniqueness of the representation of a function by trigonometric series. Cantor solved this problem in 1869. It was while working on this problem that he discovered transfinite ordinals, which occurred as indices n in the nth derived set Sn of a set S of zeros of a trigonometric series. Given a trigonometric series f(x) with S as its set of zeros, Cantor had discovered a procedure that produced another trigonometric series that had S1 as its set of zeros, where S1 is the set of limit points of S. If Sk+1 is the set of limit points of Sk, then he could construct a trigonometric series whose zeros are Sk+1. Because the sets Sk were closed, they contained their limit points, and the intersection of the infinite decreasing sequence of sets S, S1, S2, S3,... formed a limit set, which we would now call Sω, and then he noticed that Sω would also have to have a set of limit points Sω+1, and so on. He had examples that went on forever, and so here was a naturally occurring infinite sequence of infinite numbers ω, ω + 1, ω + 2, ... Between 1870 and 1872, Cantor published more papers on trigonometric series, and also a paper defining irrational numbers as convergent sequences of rational numbers. Dedekind, whom Cantor befriended in 1872, cited this paper later that year, in the paper where he first set out his celebrated definition of real numbers by Dedekind cuts. While extending the notion of number by means of his revolutionary concept of infinite cardinality, Cantor was paradoxically opposed to theories of infinitesimals of his contemporaries Otto Stolz and Paul du Bois-Reymond, describing them as both "an abomination" and "a cholera bacillus of mathematics". Cantor also published an erroneous "proof" of the inconsistency of infinitesimals. Set theory The beginning of set theory as a branch of mathematics is often marked by the publication of Cantor's 1874 paper, "Ueber eine Eigenschaft des Inbegriffes aller reellen algebraischen Zahlen" ("On a Property of the Collection of All Real Algebraic Numbers"). This paper was the first to provide a rigorous proof that there was more than one kind of infinity. Previously, all infinite collections had been implicitly assumed to be equinumerous (that is, of "the same size" or having the same number of elements). Cantor proved that the collection of real numbers and the collection of positive integers are not equinumerous. In other words, the real numbers are not countable. His proof differs from the diagonal argument that he gave in 1891. Cantor's article also contains a new method of constructing transcendental numbers. Transcendental numbers were first constructed by Joseph Liouville in 1844. Cantor established these results using two constructions. His first construction shows how to write the real algebraic numbers as a sequence a1, a2, a3, .... In other words, the real algebraic numbers are countable. Cantor starts his second construction with any sequence of real numbers. Using this sequence, he constructs nested intervals whose intersection contains a real number not in the sequence. Since every sequence of real numbers can be used to construct a real not in the sequence, the real numbers cannot be written as a sequence – that is, the real numbers are not countable. By applying his construction to the sequence of real algebraic numbers, Cantor produces a transcendental number. Cantor points out that his constructions prove more – namely, they provide a new proof of Liouville's theorem: Every interval contains infinitely many transcendental numbers. Cantor's next article contains a construction that proves the set of transcendental numbers has the same "power" (see below) as the set of real numbers. Between 1879 and 1884, Cantor published a series of six articles in Mathematische Annalen that together formed an introduction to his set theory. At the same time, there was growing opposition to Cantor's ideas, led by Leopold Kronecker, who admitted mathematical concepts only if they could be constructed in a finite number of steps from the natural numbers, which he took as intuitively given. For Kronecker, Cantor's hierarchy of infinities was inadmissible, since accepting the concept of actual infinity would open the door to paradoxes which would challenge the validity of mathematics as a whole. Cantor also introduced the Cantor set during this period. The fifth paper in this series, "Grundlagen einer allgemeinen Mannigfaltigkeitslehre" ("Foundations of a General Theory of Aggregates"), published in 1883, was the most important of the six and was also published as a separate monograph. It contained Cantor's reply to his critics and showed how the transfinite numbers were a systematic extension of the natural numbers. It begins by defining well-ordered sets. Ordinal numbers are then introduced as the order types of well-ordered sets. Cantor then defines the addition and multiplication of the cardinal and ordinal numbers. In 1885, Cantor extended his theory of order types so that the ordinal numbers simply became a special case of order types. In 1891, he published a paper containing his elegant "diagonal argument" for the existence of an uncountable set. He applied the same idea to prove Cantor's theorem: the cardinality of the power set of a set A is strictly larger than the cardinality of A. This established the richness of the hierarchy of infinite sets, and of the cardinal and ordinal arithmetic that Cantor had defined. His argument is fundamental in the solution of the Halting problem and the proof of Gödel's first incompleteness theorem. Cantor wrote on the Goldbach conjecture in 1894. In 1895 and 1897, Cantor published a two-part paper in Mathematische Annalen under Felix Klein's editorship; these were his last significant papers on set theory. The first paper begins by defining set, subset, etc., in ways that would be largely acceptable now. The cardinal and ordinal arithmetic are reviewed. Cantor wanted the second paper to include a proof of the continuum hypothesis, but had to settle for expositing his theory of well-ordered sets and ordinal numbers. Cantor attempts to prove that if A and B are sets with A equivalent to a subset of B and B equivalent to a subset of A, then A and B are equivalent. Ernst Schröder had stated this theorem a bit earlier, but his proof, as well as Cantor's, was flawed. Felix Bernstein supplied a correct proof in his 1898 PhD thesis; hence the name Cantor–Bernstein–Schröder theorem. One-to-one correspondence Cantor's 1874 Crelle paper was the first to invoke the notion of a 1-to-1 correspondence, though he did not use that phrase. He then began looking for a 1-to-1 correspondence between the points of the unit square and the points of a unit line segment. In an 1877 letter to Richard Dedekind, Cantor proved a far stronger result: for any positive integer n, there exists a 1-to-1 correspondence between the points on the unit line segment and all of the points in an n-dimensional space. About this discovery Cantor wrote to Dedekind: "" ("I see it, but I don't believe it!") The result that he found so astonishing has implications for geometry and the notion of dimension. In 1878, Cantor submitted another paper to Crelle's Journal, in which he defined precisely the concept of a 1-to-1 correspondence and introduced the notion of "power" (a term he took from Jakob Steiner) or "equivalence" of sets: two sets are equivalent (have the same power) if there exists a 1-to-1 correspondence between them. Cantor defined countable sets (or denumerable sets) as sets which can be put into a 1-to-1 correspondence with the natural numbers, and proved that the rational numbers are denumerable. He also proved that n-dimensional Euclidean space Rn has the same power as the real numbers R, as does a countably infinite product of copies of R. While he made free use of countability as a concept, he did not write the word "countable" until 1883. Cantor also discussed his thinking about dimension, stressing that his mapping between the unit interval and the unit square was not a continuous one. This paper displeased Kronecker and Cantor wanted to withdraw it; however, Dedekind persuaded him not to do so and Karl Weierstrass supported its publication. Nevertheless, Cantor never again submitted anything to Crelle. Continuum hypothesis Cantor was the first to formulate what later came to be known as the continuum hypothesis or CH: there exists no set whose power is greater than that of the naturals and less than that of the reals (or equivalently, the cardinality of the reals is exactly aleph-one, rather than just at least aleph-one). Cantor believed the continuum hypothesis to be true and tried for many years to prove it, in vain. His inability to prove the continuum hypothesis caused him considerable anxiety. The difficulty Cantor had in proving the continuum hypothesis has been underscored by later developments in the field of mathematics: a 1940 result by Kurt Gödel and a 1963 one by Paul Cohen together imply that the continuum hypothesis can be neither proved nor disproved using standard Zermelo–Fraenkel set theory plus the axiom of choice (the combination referred to as "ZFC"). Absolute infinite, well-ordering theorem, and paradoxes In 1883, Cantor divided the infinite into the transfinite and the absolute. The transfinite is increasable in magnitude, while the absolute is unincreasable. For example, an ordinal α is transfinite because it can be increased to α + 1. On the other hand, the ordinals form an absolutely infinite sequence that cannot be increased in magnitude because there are no larger ordinals to add to it. In 1883, Cantor also introduced the well-ordering principle "every set can be well-ordered" and stated that it is a "law of thought". Cantor extended his work on the absolute infinite by using it in a proof. Around 1895, he began to regard his well-ordering principle as a theorem and attempted to prove it. In 1899, he sent Dedekind a proof of the equivalent aleph theorem: the cardinality of every infinite set is an aleph. First, he defined two types of multiplicities: consistent multiplicities (sets) and inconsistent multiplicities (absolutely infinite multiplicities). Next he assumed that the ordinals form a set, proved that this leads to a contradiction, and concluded that the ordinals form an inconsistent multiplicity. He used this inconsistent multiplicity to prove the aleph theorem. In 1932, Zermelo criticized the construction in Cantor's proof. Cantor avoided paradoxes by recognizing that there are two types of multiplicities. In his set theory, when it is assumed that the ordinals form a set, the resulting contradiction implies only that the ordinals form an inconsistent multiplicity. In contrast, Bertrand Russell treated all collections as sets, which leads to paradoxes. In Russell's set theory, the ordinals form a set, so the resulting contradiction implies that the theory is inconsistent. From 1901 to 1903, Russell discovered three paradoxes implying that his set theory is inconsistent: the Burali-Forti paradox (which was just mentioned), Cantor's paradox, and Russell's paradox. Russell named paradoxes after Cesare Burali-Forti and Cantor even though neither of them believed that they had found paradoxes. In 1908, Zermelo published his axiom system for set theory. He had two motivations for developing the axiom system: eliminating the paradoxes and securing his proof of the well-ordering theorem. Zermelo had proved this theorem in 1904 using the axiom of choice, but his proof was criticized for a variety of reasons. His response to the criticism included his axiom system and a new proof of the well-ordering theorem. His axioms support this new proof, and they eliminate the paradoxes by restricting the formation of sets. In 1923, John von Neumann developed an axiom system that eliminates the paradoxes by using an approach similar to Cantor's—namely, by identifying collections that are not sets and treating them differently. Von Neumann stated that a class is too big to be a set if it can be put into one-to-one correspondence with the class of all sets. He defined a set as a class that is a member of some class and stated the axiom: A class is not a set if and only if there is a one-to-one correspondence between it and the class of all sets. This axiom implies that these big classes are not sets, which eliminates the paradoxes since they cannot be members of any class. Von Neumann also used his axiom to prove the well-ordering theorem: Like Cantor, he assumed that the ordinals form a set. The resulting contradiction implies that the class of all ordinals is not a set. Then his axiom provides a one-to-one correspondence between this class and the class of all sets. This correspondence well-orders the class of all sets, which implies the well-ordering theorem. In 1930, Zermelo defined models of set theory that satisfy von Neumann's axiom. Philosophy, religion, literature and Cantor's mathematics The concept of the existence of an actual infinity was an important shared concern within the realms of mathematics, philosophy and religion. Preserving the orthodoxy of the relationship between God and mathematics, although not in the same form as held by his critics, was long a concern of Cantor's. He directly addressed this intersection between these disciplines in the introduction to his Grundlagen einer allgemeinen Mannigfaltigkeitslehre, where he stressed the connection between his view of the infinite and the philosophical one. To Cantor, his mathematical views were intrinsically linked to their philosophical and theological implications – he identified the Absolute Infinite with God, and he considered his work on transfinite numbers to have been directly communicated to him by God, who had chosen Cantor to reveal them to the world. He was a devout Lutheran whose explicit Christian beliefs shaped his philosophy of science. Joseph Dauben has traced the effect Cantor's Christian convictions had on the development of transfinite set theory. Debate among mathematicians grew out of opposing views in the philosophy of mathematics regarding the nature of actual infinity. Some held to the view that infinity was an abstraction which was not mathematically legitimate, and denied its existence. Mathematicians from three major schools of thought (constructivism and its two offshoots, intuitionism and finitism) opposed Cantor's theories in this matter. For constructivists such as Kronecker, this rejection of actual infinity stems from fundamental disagreement with the idea that nonconstructive proofs such as Cantor's diagonal argument are sufficient proof that something exists, holding instead that constructive proofs are required. Intuitionism also rejects the idea that actual infinity is an expression of any sort of reality, but arrive at the decision via a different route than constructivism. Firstly, Cantor's argument rests on logic to prove the existence of transfinite numbers as an actual mathematical entity, whereas intuitionists hold that mathematical entities cannot be reduced to logical propositions, originating instead in the intuitions of the mind. Secondly, the notion of infinity as an expression of reality is itself disallowed in intuitionism, since the human mind cannot intuitively construct an infinite set. Mathematicians such as L. E. J. Brouwer and especially Henri Poincaré adopted an intuitionist stance against Cantor's work. Finally, Wittgenstein's attacks were finitist: he believed that Cantor's diagonal argument conflated the intension of a set of cardinal or real numbers with its extension, thus conflating the concept of rules for generating a set with an actual set. Some Christian theologians saw Cantor's work as a challenge to the uniqueness of the absolute infinity in the nature of God. In particular, neo-Thomist thinkers saw the existence of an actual infinity that consisted of something other than God as jeopardizing "God's exclusive claim to supreme infinity". Cantor strongly believed that this view was a misinterpretation of infinity, and was convinced that set theory could help correct this mistake: "... the transfinite species are just as much at the disposal of the intentions of the Creator and His absolute boundless will as are the finite numbers.". It is to note that prominent neo-scholastic german philosopher Constantin Gutberlet was in favor of such theory, holding that it didn't oppose the nature of God. Cantor also believed that his theory of transfinite numbers ran counter to both materialism and determinism – and was shocked when he realized that he was the only faculty member at Halle who did not hold to deterministic philosophical beliefs. It was important to Cantor that his philosophy provided an "organic explanation" of nature, and in his 1883 Grundlagen, he said that such an explanation could only come about by drawing on the resources of the philosophy of Spinoza and Leibniz. In making these claims, Cantor may have been influenced by FA Trendelenburg, whose lecture courses he attended at Berlin, and in turn Cantor produced a Latin commentary on Book 1 of Spinoza's Ethica. FA Trendelenburg was also the examiner of Cantor's Habilitationsschrift. In 1888, Cantor published his correspondence with several philosophers on the philosophical implications of his set theory. In an extensive attempt to persuade other Christian thinkers and authorities to adopt his views, Cantor had corresponded with Christian philosophers such as Tilman Pesch and Joseph Hontheim, as well as theologians such as Cardinal Johann Baptist Franzelin, who once replied by equating the theory of transfinite numbers with pantheism. Although later this Cardinal accepted the theory as valid, due to some clarifications from Cantor's. Cantor even sent one letter directly to Pope Leo XIII himself, and addressed several pamphlets to him. Cantor's philosophy on the nature of numbers led him to affirm a belief in the freedom of mathematics to posit and prove concepts apart from the realm of physical phenomena, as expressions within an internal reality. The only restrictions on this metaphysical system are that all mathematical concepts must be devoid of internal contradiction, and that they follow from existing definitions, axioms, and theorems. This belief is summarized in his assertion that "the essence of mathematics is its freedom." These ideas parallel those of Edmund Husserl, whom Cantor had met in Halle. Meanwhile, Cantor himself was fiercely opposed to infinitesimals, describing them as both an "abomination" and "the cholera bacillus of mathematics". Cantor's 1883 paper reveals that he was well aware of the opposition his ideas were encountering: "... I realize that in this undertaking I place myself in a certain opposition to views widely held concerning the mathematical infinite and to opinions frequently defended on the nature of numbers." Hence he devotes much space to justifying his earlier work, asserting that mathematical concepts may be freely introduced as long as they are free of contradiction and defined in terms of previously accepted concepts. He also cites Aristotle, René Descartes, George Berkeley, Gottfried Leibniz, and Bernard Bolzano on infinity. Instead, he always strongly rejected Kant's philosophy, in the realms of both the philosophy of mathematics and metaphysics. He shared B. Russell's motto "Kant or Cantor", and defined Kant "yonder sophistical Philistine who knew so little mathematics." Cantor's ancestry Cantor's paternal grandparents were from Copenhagen and fled to Russia from the disruption of the Napoleonic Wars. There is very little direct information on them. Cantor's father, Georg Waldemar Cantor, was educated in the Lutheran mission in Saint Petersburg, and his correspondence with his son shows both of them as devout Lutherans. Very little is known for sure about Georg Waldemar's origin or education. Cantor's mother, Maria Anna Böhm, was an Austro-Hungarian born in Saint Petersburg and baptized Roman Catholic; she converted to Protestantism upon marriage. However, there is a letter from Cantor's brother Louis to their mother, stating: ("Even if we were descended from Jews ten times over, and even though I may be, in principle, completely in favour of equal rights for Hebrews, in social life I prefer Christians...") which could be read to imply that she was of Jewish ancestry. According to biographers Eric Temple Bell, Cantor was of Jewish descent, although both parents were baptized. In a 1971 article entitled "Towards a Biography of Georg Cantor", the British historian of mathematics Ivor Grattan-Guinness mentions (Annals of Science 27, pp. 345–391, 1971) that he was unable to find evidence of Jewish ancestry. (He also states that Cantor's wife, Vally Guttmann, was Jewish). In a letter written to Paul Tannery in 1896 (Paul Tannery, Memoires Scientifique 13 Correspondence, Gauthier-Villars, Paris, 1934, p. 306), Cantor states that his paternal grandparents were members of the Sephardic Jewish community of Copenhagen. Specifically, Cantor states in describing his father: "Er ist aber in Kopenhagen geboren, von israelitischen Eltern, die der dortigen portugisischen Judengemeinde...." ("He was born in Copenhagen of Jewish (lit: 'Israelite') parents from the local Portuguese-Jewish community.") In addition, Cantor's maternal great uncle, a Hungarian violinist Josef Böhm, has been described as Jewish, which may imply that Cantor's mother was at least partly descended from the Hungarian Jewish community. In a letter to Bertrand Russell, Cantor described his ancestry and self-perception as follows: There were documented statements, during the 1930s, that called this Jewish ancestry into question: Biographies Until the 1970s, the chief academic publications on Cantor were two short monographs by Arthur Moritz Schönflies (1927) – largely the correspondence with Mittag-Leffler – and Fraenkel (1930). Both were at second and third hand; neither had much on his personal life. The gap was largely filled by Eric Temple Bell's Men of Mathematics (1937), which one of Cantor's modern biographers describes as "perhaps the most widely read modern book on the history of mathematics"; and as "one of the worst". Bell presents Cantor's relationship with his father as Oedipal, Cantor's differences with Kronecker as a quarrel between two Jews, and Cantor's madness as Romantic despair over his failure to win acceptance for his mathematics. Grattan-Guinness (1971) found that none of these claims were true, but they may be found in many books of the intervening period, owing to the absence of any other narrative. There are other legends, independent of Bell – including one that labels Cantor's father a foundling, shipped to Saint Petersburg by unknown parents. A critique of Bell's book is contained in Joseph Dauben's biography. Writes Dauben: See also Absolute Infinite Aleph number Cardinality of the continuum Cantor algebra Cantor cube Cantor distribution Cantor function Cantor medal – award by the Deutsche Mathematiker-Vereinigung in honor of Georg Cantor Cantor normal form theorem Cantor space Cantor tree surface Cantor's back-and-forth method Cantor's diagonal argument Cantor's intersection theorem Cantor's isomorphism theorem Cantor's first set theory article Cantor's paradox Cantor's theorem Cantor's leaky tent Cantor–Bendixson theorem Cantor–Dedekind axiom Cantor–Schröder–Bernstein Cantor–Bernstein theorem Cantor set Cardinal number Continuum hypothesis Countable set Derived set (mathematics) Epsilon numbers (mathematics) Factorial number system Heine–Cantor theorem Pairing function Smith–Volterra–Cantor set Transfinite number Notes References . . Internet version published in Journal of the ACMS 2004. Note, though, that Cantor's Latin quotation described in this article as a familiar passage from the Bible is actually from the works of Seneca and has no implication of divine revelation. . . . . . . . . . . Although the presentation is axiomatic rather than naive, Suppes proves and discusses many of Cantor's results, which demonstrates Cantor's continued importance for the edifice of foundational mathematics. . . . Bibliography Older sources on Cantor's life should be treated with caution. See section § Biographies above. Primary literature in English . Primary literature in German . Published separately as: Grundlagen einer allgemeinen Mannigfaltigkeitslehre. . Almost everything that Cantor wrote. Includes excerpts of his correspondence with Dedekind (p. 443–451) and Fraenkel's Cantor biography (p. 452–483) in the appendix. Secondary literature . . A popular treatment of infinity, in which Cantor is frequently mentioned. . Contains a detailed treatment of both Cantor's and Dedekind's contributions to set theory. . . Three chapters and 18 index entries on Cantor. Newstead, Anne (2009). "Cantor on Infinity in Nature, Number, and the Divine Mind", American Catholic Philosophical Quarterly, 83 (4): 532–553, https://doi.org/10.5840/acpq200983444. With acknowledgement of Dauben's pioneering historical work, this article further discusses Cantor's relation to the philosophy of Spinoza and Leibniz in depth, and his engagement in the Pantheismusstreit. Brief mention is made of Cantor's learning from F.A.Trendelenburg. . Chapter 16 illustrates how Cantorian thinking intrigues a leading contemporary theoretical physicist. . Deals with similar topics to Aczel, but in more depth. . Leonida Lazzari, L'infinito di Cantor. Editrice Pitagora, Bologna, 2008. External links Mainly devoted to Cantor's accomplishment. Stanford Encyclopedia of Philosophy: Set theory by Thomas Jech. The Early Development of Set Theory by José Ferreirós. "Cantor infinities", analysis of Cantor's 1874 article, BibNum (for English version, click 'à télécharger'). There is an error in this analysis. It states Cantor's Theorem 1 correctly: Algebraic numbers can be counted. However, it states his Theorem 2 incorrectly: Real numbers cannot be counted. It then says: "Cantor notes that, taken together, Theorems 1 and 2 allow for the redemonstration of the existence of non-algebraic real numbers …" This existence demonstration is non-constructive. Theorem 2 stated correctly is: Given a sequence of real numbers, one can determine a real number that is not in the sequence. Taken together, Theorem 1 and this Theorem 2 produce a non-algebraic number. Cantor also used Theorem 2 to prove that the real numbers cannot be counted. See Cantor's first set theory article or Georg Cantor and Transcendental Numbers. People from Saint Petersburg German logicians Set theorists 19th-century German writers 19th-century German male writers 20th-century German writers 19th-century German mathematicians 20th-century German mathematicians 19th-century philosophers 20th-century German philosophers Martin Luther University of Halle-Wittenberg faculty ETH Zurich alumni German Lutherans People with bipolar disorder Baltic-German people 1845 births 1918 deaths Technische Universität Darmstadt alumni
false
[ "The John H. Patterson Career Center was part of Dayton City Schools. The school was closed in 2009 and turned into Ponitz Career Technology Center. The school was named after John Henry Patterson, Dayton native and founder of NCR Corporation. Patterson had a job curriculum, that allowed students, to work full time in their elected field, this unique program, allowed students, to work for two weeks, and attend school for two weeks, dividing the class into sections, this allowed students, to work and earn money, and learn their specific field.\n\nPatterson Co-Op was built in 1952 and was merged with Stivers High School in the 1973–74 school year. and was sometimes referred to as Stivers-Patterson at that point; prior to 1973 the school was most often called John H. Patterson Cooperative High School.\n\nCurriculum\n\nPatterson offered a three-year career-technical certificate in:\nAllied Health (Dental, Medical)\nBusiness and Marketing\nCosmetology\nEngineering Technologies\nFood Management\nGraphics Communication\nMachine Trades\nRadio/TV\n\nPatterson met three of the 12 state indicators for the 2005–2006 school year, earning it a rating of \"Continuous Improvement\" rating.\n\nOhio High School Athletic Association State Championships\n\n Boys Track and Field – 1985\n\nReferences\n\nExternal links\n Patterson Website\n\nHigh schools in Dayton, Ohio\nNCR Corporation\nDefunct schools in Ohio", "Ali Khodadadi (July 13, 1946 – June 9, 2011) was a carpet weaver and manufacturer from Iran, who was known for his work Boostan.\n\nBiography \nKhodadadi was born in Shahreza, Iran in 1946. His father was a carpet manufacturer and tradesman, and his mother assisted her husband with his work. Khodadadi was very fond of painting and designing and, upon completion of high school, chose to pursue his artistic talent in the field of Persian rug weaving. In order to gain experience as an artist, he worked for two years as an apprentice under great masters, such as Master Zarrinkelk and Master Khaknegar.\n\nHis first work, \"Flower and Butterfly,\" was completed in 1977 and put at the disposal of the Carpet Museum of Iran in 1984. This carpet was woven with an embossed design, but is considered very rare and unique due to the new weaving technique used by Khodadadi. \"Flower and Butterfly\" was woven with a longer pile (longer strands of wool), giving a three-dimensional effect to the animal, rose, and butterfly figures on the carpet.\n\nDuring the final stage of weaving \"Flower and Butterfly,\" Khodadadi had an idea for a new style of weaving inspired by inlaid art. He therefore took the measurements necessary to begin weaving his most famous work, \"Boostan.\"\n\nReferences\n\nExternal links \n Boostan Website (in English and Persian)\n \"Flower and Butterfly\" on the Carpet Museum of Iran Website\nThe Dream of Paradise: The Art of Persian Carpet 3 Vols. Islamic Republic of Iran: Etka, 2007.\n\nRugs and carpets\nIranian artists\n1946 births\n2011 deaths" ]
[ "Jack Thompson (activist)", "Video games" ]
C_532f466e456c4ef386ece86c5deb7398_1
When did THompson get interested in video games?
1
When did Jack Thompson (activist) get interested in video games?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
CANNOTANSWER
John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
false
[ "I'm O.K – A Murder Simulator is a 2006 freeware video game developed by Derek Yu, Chris Hanson, Philippe Jones, Alec Holowka and Christopher Howard Wolf. It was created as a satirical response to a challenge by anti-video game-violence activist and disbarred attorney Jack Thompson.\n\nBackground\nThis game was created and released in response to \"A Modest Video Game Proposal\" issued in late 2005 by activist attorney Jack Thompson, known for his opposition to sex and violence in entertainment, including computer and video games. This challenge dared computer game producers to release a game following a \"script\" he outlined, in which the grieving father of a child killed by a computer gamer takes vengeance by murdering many people connected with the gaming industry in a brutal manner. Thompson promised to contribute a $10,000 donation to the charity of choice of Paul Eibeler (then-chairman of Take-Two Interactive, one of the game companies most heavily criticized by Thompson) if such a game were released. However, he has since claimed that the proposal was only a joke, and currently, no charity has been designated by Eibeler. The makers of the gaming-related webcomic Penny Arcade have, however, made a $10,000 donation in Thompson's name to the Entertainment Software Association Foundation, a philanthropic, grant-giving body run by the Entertainment Software Association.\n\nThe \"O.K\" in the title refers to the initials of the protagonist, Osaki Kim, but together with the first part of the game's name is also a play on the accusation that video game violence is being considered normal by manufacturers and gamers. The reference to a \"Murder Simulator\" refers to what Thompson regularly proclaims all violent computer games to be.\n\nI'm O.K is a side-scrolling video game with 16-bit era low-resolution graphics that shares (to a degree) the basic gameplay (and somewhat lowbrow humor) of the Metal Slug series.\n\nReferences\n\nExternal links\n \n Download I'm O.K – A Murder Simulator at Derek Yu's website\n\n2006 video games\nBlack comedy video games\nClickteam Fusion games\nFreeware games\nIndie video games\nParody video games\nRetro-style video games\nRun and gun games\nSatirical video games\nSide-scrolling beat 'em ups\nSingle-player video games\nVideo games developed in the United States\nVideo games set in Los Angeles\nVideo games set in New York (state)\nVideo games set in Philadelphia\nWindows games\nWindows-only games", "Peter Thompson (born 2 May 1984) is a Northern Irish former professional footballer who played as a striker.\n\nHe was capped 8 times by Northern Ireland.\n\nClub career\n\nLinfield\nThompson made his debut for Linfield in the 2001–02 season as a substitute. However, the following season he started 6 games and appeared as a sub on a further 9 occasions, scoring twice . The 2003–04 season was equally uninspiring with only nine games, all as a sub, and no goals.\n\nWith his career seemingly going nowhere in 2004–05, Thompson managed to force his way into the team, hitting 27 goals in 43 starts, inspiring Linfield onto an outstanding 'Clean Sweep' of 4 domestic trophies.\n\nHe was the Irish Premier League's top goalscorer in the 2005–06 season, scoring 25 goals in the league.\n\nThe 2006–07 season was equally fruitful with 31 goals in 51 games and in his final season with the Irish Champions, he hit a very impressive 44 goals in 48 starts.\n\nIn the 2008–09 season he only appeared in one competitive match, when Linfield lost 2–0 to an excellent Dinamo Zagreb side. He did however score 2 goals in two friendly games at the start of the season..\n\nOn 17 July 2008, Linfield gave Thompson permission to negotiate terms with Stockport County after agreeing a fee for the striker believed to be in the region of £100,000 plus add-ons. Norwich City were also keen to sign Thompson but could not reach an agreement with Linfield.\nThompson left Linfield as a Goalscoring Legend with 152 goals in 235 games, including 33 sub appearances, averaging 1 goal every 1.45 games. Fans bade Thompson an emotional farewell in a flood of messages published on the Linfield website, in which the club branded him one of their greatest players and an exemplary sportsman.\n\nStockport County\nHe officially signed for the Cheshire club the following day and was handed the number nine shirt, worn previously by Stockport strikers Kevin Francis, Brett Angell and Luke Beckett.\n\nThompson made his début against Liverpool reserves on 26 July. He did not manage to get on to the scoresheet however he did impress and had one shot cleared off the line and hit the post on another occasion, as Stockport drew 1–1. He did however manage to get on the score sheet in the 86th minute to put Stockport 2–1 up against Manchester City, before City equalised in stoppage time.\n\nThompson was dubbed \"A Player To Watch\" in League One by the leading newspapers in the UK and bagged his first competitive Stockport goal in their 2–2 draw at Cheltenham on 27 September 2008.\n\nDespite the promising start, Thompson struggled to adapt to Stockport's tactics, with their point-striker style of play not complementing his attributes. He was forced out of the first team by loan signings better suited to Stockport's tactics, and was hit with a further setback when a chest infection turned serious causing Thompson a collapsed lung. He was unable to return to first-team action until April 2009.\n\nBack to Linfield\nLinfield announced on 6 January 2010 that the player had rejoined them on loan from Stockport until the end of the 2009–10 season. On 1 July 2010, Linfield announced that Thompson had re-joined the team permanently, on a 3-year deal. In the 2010–11 season, his first full season back at the club, he finished as the top goal scorer in the league, with 23 league goals in 34 appearances.\n\nInternational career\nWith his prolific goalscoring at club level, he made his Northern Ireland debut against Portugal in 2005 and has made 8 appearances to date, scoring 1 goal against Georgia.\n\nInternational goals\nScores and results list Northern Ireland's goal tally first.\n\nReferences\n\nExternal links\n\n1984 births\nAssociation footballers from Belfast\nLiving people\nAssociation football forwards\nAssociation footballers from Northern Ireland\nNorthern Ireland international footballers\nLinfield F.C. players\nStockport County F.C. players\nEnglish Football League players\nNIFL Premiership players" ]
[ "Jack Thompson (activist)", "Video games", "When did THompson get interested in video games?", "I don't know." ]
C_532f466e456c4ef386ece86c5deb7398_1
When was his first lawsuit involving video games?
2
When was Jack Thompson's first lawsuit involving video games?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
Thompson got involved in a case involving an adult on one occasion in 2004.
John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
true
[ "Shanghai Moonton Technology Co. Ltd. (), commonly known as Moonton Games, is a Chinese multinational video game developer and publisher owned by the Nuverse subsidiary of ByteDance and based in Shanghai, China. It is best known for the mobile multiplayer online battle arena (MOBA) game Mobile Legends: Bang Bang released in July 2016.\n\nHistory\nMoonton Games was founded in 2015. The company was initially called YoungJoy Technology Limited.\n\nMoonton Games' first video game, the tower defense (TD) game Magic Rush: Heroes, was released on 6 April 2015.\n\nMobile Legends began development when following the completion of Magic Rush: Heroes. Mobile Legends was released as Mobile Legends: 5v5 MOBA in 2016, and became popular in Southeast Asia, notably in Indonesia and Malaysia, where it was the most-downloaded free mobile game app among iPhone users in 2017. The game is distributed by Elex Tech in the United States.\n\nRiot Games suspected that Mobile Legends: 5v5 MOBA infringed on the intellectual property League of Legends, and demanded that Google remove the game from Google Play and App Store. Moonton Games removed the game before Google could act and eventually relaunched it as Mobile Legends: Bang Bang on 9 November 2016. In July 2017, Riot Games filed a lawsuit against Moonton Games over copyright infringement, citing similarities between Magic Rush and Mobile Legends against League of Legends. The case was dismissed by Central District Court of California in the United States on account of forum non conveniens.\n\nTencent, the parent of Riot Games, followed with a separate lawsuit in Shanghai No.1 Intermediate People's Court against Xu Zhenhua - previously a senior Tencent employee - for violating non-competition agreements. Tencent won the lawsuit in July 2018 and was awarded a settlement of ( million).\n\nOn 22 March 2021, the developer of TikTok, BABE, Resso and Lark ByteDance, through its video game subsidiary Nuverse, acquired Moonton Games for billion. ByteDance reportedly won over a bid from Tencent.\n\nList of products\n\nVideo games\n\nTelevision series\n\nNotes \nMobile Legends: Bang Bang is a minor revision of Mobile Legends: 5v5 MOBA, but was considered a separate product in the 44-page lawsuit filed by Riot Games against Moonton Games.\n\nReferences\n\nByteDance\n2014 establishments in China\nCompanies based in Shanghai\nVideo game companies established in 2014\nVideo game companies of China\n2021 mergers and acquisitions", "HEX: Shards of Fate (Hex, Hex TCG or Hex: Card Clash) was a massively multiplayer online trading card game (MMOTCG) by Cryptozoic Entertainment. It is the first game in the MMOTCG genre. It was funded via Kickstarter, and raised while its campaign was active. As of October 28, 2013, Hex was the 11th most-funded video game on Kickstarter. The game was officially released on January 26, 2016 and was playable on Windows, OS X and iOS.\n\nHex: Shards of Fate started Closed Alpha testing on October 8, 2013. In April 2014, the game went into Closed Beta, which included all Kickstarter backers as well as so-called \"Slacker Backers\", with new players being invited to join in the following months. As of May 2015, the game was available on PC in an early access phase and clients for iOS and Android were being worked on. As a digital TCG, it featured unique features, such as being able to modify cards pre-match and transform cards during the match. The game was shut down and closed permanently on December 2020.\n\nLawsuit\n\nOn May 14, 2014, Wizards of the Coast filed a lawsuit against Cryptozoic for infringement of intellectual property, claiming that Hex: Shards of Fate is nearly a clone of Magic: The Gathering. Wizards of the Coast says \"While we appreciate a robust and thriving trading card game industry, we will not permit the misappropriation of our intellectual property.\" On May 19, 2014, Cryptozoic responded to the lawsuit that \"Although we take all pending litigation seriously, we do not find any merit to the allegations in the complaint.\" On Sep 24, 2015, Wizards of the Coast, Cryptozoic Entertainment and Hex Entertainment settled the lawsuit with undisclosed terms.\n\nSets \nExpansion sets:\n Shards of Fate\n Shattered Destiny\n Armies of Myth\n Primal Dawn\n Herofall\n Scars of War\n Frostheart\n Dead of Winter\n Doombringer\n\nReferences\n\nExternal links\n\n2016 video games\nCard battle video games\nCryptozoic Entertainment games\nFree-to-play video games\niOS games\nKickstarter-funded video games\nMacOS games\nMassively multiplayer online games\nDigital collectible card games\nPlayStation 4 games\nVideo games developed in the United States\nVideo games with cross-platform play\nWindows games" ]
[ "Jack Thompson (activist)", "Video games", "When did THompson get interested in video games?", "I don't know.", "When was his first lawsuit involving video games?", "Thompson got involved in a case involving an adult on one occasion in 2004." ]
C_532f466e456c4ef386ece86c5deb7398_1
What was the claim in that case?
3
What was the claim in that case Jack Thompson's first lawsuit in 2004?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio.
John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
false
[ "Simanke v Liu (1994) 2 NZ ConvC 191,888 is a cited case in New Zealand regarding cancellation of a contract under the Contractual Remedies Act. It held that that any deposit in excess of a customary deposit, in this case 10%, is refundable to the purchaser.\n\nBackground\nSimanke agreed to sell a property to Liu for $650,000, with the sales agreement stating that a deposit of $300,000 was to be paid within 14 days.\n\nThe contract was later cancelled, and Siminake sued for the $300,000 deposit. Liu defended the claim by saying as under the Contractual Remedies Act 1979, once a contract is cancelled, no party is obliged to perform any further on a contract. Simanke argued that the Act still requires the deposit to be paid.\n\nHeld\nThe court ruled that in New Zealand, the customary deposit is 10%, meaning in this case, $300,000 was not in the nature of a deposit, and so was not enforceable here. Furthermore, Simanke's claim was not helped either by the fact that the sales agreement had limited the forfeiture of deposit to be only 10%, anyway. Simanke's claim was dismissed.\n\nReferences\n\nCourt of Appeal of New Zealand cases\nNew Zealand contract case law\n1994 in New Zealand law\n1994 in case law", "Alexkor v Richtersveld Community, decided by the Constitutional Court in 2001, is an important case in South African law, with a particular bearing on the law of property and the use of customary law.\n\nThe Richtersveld community brought a claim for the restoration of its ancestral land in terms of the Restitution of Land Rights Act, a statutory mechanism giving effect to the government's constitutionally-mandated land reform and restitution programme. The appellant in this case was the mining corporation Alexkor, which had an interest in the diamondiferous parts of the Richtersveld area. An important aspect of the case was the community's assertion that it used the land according to its indigenous customs, an assertion upheld in both the Supreme Court of Appeal (SCA) and the Constitutional Court, and on the basis whereof the land was returned to the community.\n\nIn defining and determining what is entailed by customary-law ownership of land, the SCA equated it with common-law ownership, while the Constitutional Court found that its content should be ascertained by studying the customs and uses of the community. It was thus decided that the Richtersveld community's claim to the land incorporated a claim to the minerals in the land, and that the community's entitlement to both the land and the minerals should be acknowledged and restored. Incorporated in this was the right of the community to claim compensation for past exploitation of the land by Alexkor and the state. The court's reasoning shows \"how the redefinition of the sources of South African property law affects the protection offered to relationships with land.\"\n\nSee also \n Property law\n Customary law\n South African property law\n Customary law in South Africa\n Aboriginal title\n\nReferences \n H Mostert and A Pope (eds) The Principles of The Law of Property in South Africa 1 ed (2010).\n Restitution of Land Rights Act 22 of 1994.\n Richtersveld Community and Others v Alexkor Ltd and Another 2003 (6) SA 104 (SCA), 2003 Case 488/2001 SAFLII\n Alexkor Ltd and Another v Richtersveld Community and Others 2004 (5) SA 460 (CC), 2003 CCT 19/03 SAFLII\n\nNotes \n\n2001 in South African law\nConstitutional Court of South Africa cases\n2001 in case law\nSouth African property case law\nSouth African customary case law\nAboriginal title" ]
[ "Jack Thompson (activist)", "Video games", "When did THompson get interested in video games?", "I don't know.", "When was his first lawsuit involving video games?", "Thompson got involved in a case involving an adult on one occasion in 2004.", "What was the claim in that case?", "This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio." ]
C_532f466e456c4ef386ece86c5deb7398_1
How was this related to video games?
4
How was the aggravated murder case against 29-year-old Charles McCoy, Jr related to video games?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
When McCoy was captured, a game console and a copy of The Getaway were in his motel room.
John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
true
[ "How to be a Complete Bastard is a 1986 book by Adrian Edmondson, Mark Leigh and Mike Lepine. \n\nThe book was a spin-off from Adrian Edmondson's character Vyvyan in The Young Ones, and contained a selection of ways to be a \"complete bastard\" to those around you. Some examples are:\n \"How to be a Bastard Student:\" Join the Free Nelson Mandela Society and demand your free Nelson Mandela. (note: at the time of publication nearly every UK university had a society of that name campaigning for the release of Nelson Mandela)\n \"How to be a Bastard Parent:\" Things babies are good for: Filling their pants with shit. (That's about it really) What to do if baby cries: 1) Put on an Iron Maiden album 2) Listen to it at full volume\n \"How to be a Complete Bastard to the Deaf:\" Go like this: (sequence of cartoons depicting sign language alphabet gestures spelling \"FUCK OFF\") Alternatively, go like this: (single cartoon depicting V-sign gesture)\n\nIt was followed up with The Complete Bastard's Book of the Worst in 1989.\n\nThe book was also turned into a video game for ZX Spectrum, Amstrad CPC and Commodore 64, as well as a board game published by Paul Lamond Games Ltd.\n\nReferences\n\n1986 books\n1987 video games\nAdventure games\nAmstrad CPC games\nCommodore 64 games\nParody video games\nVideo games developed in the United Kingdom\nZX Spectrum games", "Injured Engine is a 1984 puzzle game released for the Commodore 64 by Imagic. The player must diagnose problems in a simulated automobile engine; the game aims to teach how engines work and how engine parts related to each other. It was created by an auto mechanic and a graphic artist. Imagic demonstrated it at the 1984 Consumer Electronics Show. Imagic designed it as part of an educational series that includes Microsurgeon.\n\nReception \nRhea J. Grundy of Home Computer Magazine compared it to a Revell V-8 engine model and said the game teaches an \"increased awareness of your automobile\" rather than the skill necessary to make repairs. Mark Cotone of Commodore Microcomputers wrote that Injured Engine will not replace mechanics or detailed manuals, but it can aid in learning proper maintenance. Joyce Worley of Electronic Games called it an easy game that can help novices to talk more knowledgeably to mechanics. Kiplinger's Personal Finance called it an easy way to learn the basics of car engines.\n\nReferences\n\nExternal links \n \n\n1984 video games\nCommodore 64 games\nApple II games\nPuzzle video games\nChildren's educational video games\nMultiplayer and single-player video games\nVideo games developed in the United States" ]
[ "Jack Thompson (activist)", "Video games", "When did THompson get interested in video games?", "I don't know.", "When was his first lawsuit involving video games?", "Thompson got involved in a case involving an adult on one occasion in 2004.", "What was the claim in that case?", "This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio.", "How was this related to video games?", "When McCoy was captured, a game console and a copy of The Getaway were in his motel room." ]
C_532f466e456c4ef386ece86c5deb7398_1
Whom did he represent in the suit?
5
Whom did Jack Thompson represent in the suit against Charles McCoy, Jr.?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence.
John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
true
[ "United States v. Johnson, 319 U.S. 302 (1943), was a United States Supreme Court case.\n\nBackground\nThe tenant brought suit against the landlord, alleging violation of the Emergency Price Control Act of 1942, and demanding treble damages and reasonable attorney fees. The landlord filed a motion to dismiss, challenging the constitutionality of the Act. The government intervened and filed a brief in support of the constitutionality of the Act. The district court dismissed the tenant's complaint on the grounds that the Act and the promulgation of the regulation under it were unconstitutional because Congress unconstitutionally delegated legislative power.\n\nBefore entry of the order dismissing the complaint, the government filed a motion to reopen the case on the ground that it was collusive and did not involve a real case or controversy. The affidavit of the plaintiff, submitted by the Government on its motion to dismiss the suit as collusive, shows without contradiction that he brought the present proceeding in a fictitious name; that it was instituted as a \"friendly suit\" at appellee's request; that the plaintiff did not employ, pay, or even meet, the attorney who appeared of record in his behalf; that he had no knowledge who paid the $15 filing fee in the district court, but was assured by appellee that as plaintiff he would incur no expense in bringing the suit; that he did not read the complaint which was filed in his name as plaintiff; that in his conferences with the appellee and appellee's attorney of record, nothing was said concerning treble damages and he had no knowledge of the amount of the judgment prayed until he read of it in a local newspaper. Appellee's counter-affidavit did not deny these allegations. It admitted that appellee's attorney had undertaken to procure an attorney to represent the plaintiff and had assured the plaintiff that his presence in court during the trial of the cause would not be necessary. It appears from the district court's opinion that no brief was filed on the plaintiff's behalf in that court.\n\nThe Government's motion was denied. The Government appealed to the Supreme Court under § 2 of the Act of August 24, 1937, 50 Stat. 752, 28 U.S.C. § 349a, and assigns as error both the ruling of the district court on the constitutionality of the Act, and its refusal to reopen and dismiss the case as collusive.\n\nOpinion of the Court \nThe Supreme Court vacated and ordered dismissal of the suit, holding that the suit was collusive because it was not in any real sense adversary. In so holding, the court noted that the tenant had no active participation in the suit, exercised no control in the case, was only nominally represented by counsel, and his counsel was selected by the landlord's counsel.\n\nExcerpts\n\n\"Even in a litigation where only private rights are involved, the judgment will not be allowed to stand where one of the parties has dominated the conduct of the suit by payment of the fees of both. Gardner v. Goodyear Dental Vulcanite Co., 131 U.S. Appendix, ciii.\"\n\"Here an important public interest is at stake—the validity of an Act of Congress having far-reaching effects [*305] on the public welfare in one of the most critical periods in the history of the country. That interest has been adjudicated in a proceeding in which the plaintiff has had no active participation, over which he has exercised no control, and the expense of which he has not borne. He has been only nominally represented by counsel who was selected by appellee's counsel and whom he has never seen. Such a suit is collusive because it is not in any real sense adversary. It does not assume the \"honest and actual antagonistic assertion of rights\" to be adjudicated—a safeguard essential to the integrity of the judicial process, and one which we have held to be indispensable to adjudication of constitutional questions by this Court. Chicago & Grand Trunk Ry. Co. v. Wellman, 143 U.S. 339, 345; and see Lord v. Veazie, 8 How. 251; Cleveland v. Chamberlain, 1 Black 419; Bartemeyer v. Iowa, 18 Wall. 129, 134-35; Atherton Mills v. Johnston, 259 U.S. 13, 15. Whenever in the course of litigation such a defect in the proceedings is brought to the court's attention, it may set aside any adjudication thus procured and dismiss the cause without entering judgment on the [**1077] merits. It is the court's duty to do so where, as here, the public interest has been placed at hazard by the amenities of parties to a suit conducted under the domination of only one of them. The district court should have granted the Government's motion to dismiss the suit as collusive. We accordingly vacate the judgment below with instructions to the district court to dismiss the cause on that ground alone. Under the statute, 28 U. S. C. § 401, the Government is liable for costs which may be taxed as in a suit between private litigants; costs in this Court will be taxed against appellee.\"\n\nReferences\n\nExternal links\n \n\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Stone Court\n1943 in United States case law", "The Minor Arcana, sometimes Lesser Arcana, are the suit cards in a tarot deck. Minor Arcana cards first appear in tarot card games, with pip cards numbered one (ace) to ten, along with court cards (or face cards) in each of four suits. In contemporary tarot decks the Minor Arcana are often illustrated—a convention popularized by the Rider–Waite–Smith tarot deck in 1910. Used in a tarot card reading in conjunction with the Major Arcana, the cards of the Minor Arcana suggest subtleties and details and signify day-to-day insights.\n\nTarot variations derived from Italian decks and Spanish decks typically have a Minor Arcana of 56 cards, with 14 cards in each suit: Wands (alternately batons, clubs, staffs, or staves), Cups (chalices, goblets, or vessels), Swords (or blades), and Pentacles (coins, disks, or rings). The four court cards are commonly page, knight, queen, and king. Some variations have princess and prince cards replacing the page and knight cards; the historic Visconti-Sforza tarot deck expands the court with two additional cards: the damsel and the mounted lady. While the historic Tarot of Marseilles contains 56 cards, later decks based on the French suits of clubs (♣), hearts (), spades (♠), and diamonds () have only three face cards per suit, with a jack (or knave) in addition to the queen and king.\n\nSymbolism\nIn divinatory, esoteric and occult tarot, the Minor Arcana are believed to represent relatively mundane features of life. The court cards represent the people whom one meets.\n\nEach suit also has distinctive characteristics and connotations commonly held to be as follows:\n\nGallery of card suits\nIllustrations from the Rider–Waite tarot deck, the most popular amongst English speakers, divided by suit and arranged in ascending order of face value.\n\nWands\n\nCups\n\nSwords\n\nPentacles\n\nPlanetary associations\nIn the Order of the Golden Dawn, number cards are associated with planets, corresponding to their placement in Kabbalah.\n\nThrees - Saturn\nFours - Jupiter\nFives - Mars\nSixes - Sun\nSevens - Venus\nEights - Mercury\nNines - Moon\nTens - Earth\n\nReferences\n\nTarot Meanings for the Minor Arcana are also available via Psychic Revelation.\n\nExternal links\n\n \nCartomancy\n\nde:Tarot#Die kleinen Arkana" ]
[ "Jack Thompson (activist)", "Video games", "When did THompson get interested in video games?", "I don't know.", "When was his first lawsuit involving video games?", "Thompson got involved in a case involving an adult on one occasion in 2004.", "What was the claim in that case?", "This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio.", "How was this related to video games?", "When McCoy was captured, a game console and a copy of The Getaway were in his motel room.", "Whom did he represent in the suit?", "Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence." ]
C_532f466e456c4ef386ece86c5deb7398_1
Was this a criminal or civil trial?
6
Was the suit against Charles McCoy, Jr.a criminal or civil trial?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
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John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
false
[ "The Administration of Justice (Emergency Provisions) Act 1939 (2 & 3 Geo. 6 c. 78) was an Act of the Parliament of the United Kingdom that modified the law in England and Wales with regards to juries in England and Wales. It was an emergency measure passed in anticipation of war with Germany, and received royal assent on the day that Germany invaded Poland, beginning the Second World War. Among other things, it reduced the number of people required to serve on a jury in civil or criminal cases from twelve to seven (except in the most serious criminal cases). It also raised the age limit for jury service from 60 to 65, and abolished trial by jury in civil cases, except in cases where the judge ordered that a jury trial was to take place. This was due to the large numbers of people who were expected to be conscripted in the event of a war. The Act was to have effect until the end of the war, when it would be suspended by an Order in Council.\n\nSimilar legislation was passed for Scotland and Northern Ireland. In Scotland, where a unanimous verdict was not always required, a majority verdict could be given by five of the seven jurors.\n\nSelected text\nSection 7(1) read:\n\"Notwithstanding anything in any enactment, for the purpose of any trial with a jury or inquiry by a jury in any proceedings, whether civil or criminal, it shall not be necessary for the jury to consist of more than seven persons:\n\"Provided that the preceding provisions of this subsection shall not apply in relation to the trial of a person on any charge, if the court or a judge thinks fit, by reason of the gravity of the matters in issue, to direct that those provisions shall not apply, and shall not in any case apply in relation to the trial of a person on a charge of treason or murder.\"\nSection 8(1) read:\n\"No question arising in any civil proceedings in the High Court or in any inferior court of civil jurisdiction shall be tried with a jury, and no writ of enquiry for the assessment of damages or other claim by a jury shall issue, unless the court or a judge is of opinion that the question ought to be tried with a jury or, as the case may be, the assessment ought to be made by a jury and makes an order to that effect.\"\n\nReferences\n\nThe Public General Acts (London: Eyre & Spottiswoode, 1939)\n\nSee also\nNational Service (Armed Forces) Act 1939\n\nWorld War II legislation\nUnited Kingdom Acts of Parliament 1939\nEmergency laws in the United Kingdom", "Lockerbie: The Story and the Lessons is a book by aviation security expert Rodney Wallis on the Pan Am 103/Lockerbie bombing case, focusing upon the civil litigation trial brought by surviving family members against the now defunct Pan American World Airways.\n\nLockerbie civil case\nThe civil trial took place in 1992 in the Eastern District of New York, before United States District Court Judge Thomas C. Platt. In his book, Wallis, a former Director of Security for the International Air Transport Association (IATA) brings together the facts surrounding the sabotage on 21 December 1988 of Pan Am Flight 103, and details how the civil litigation developed so many of the facts surrounding the bombing for the first time. Wallis's book uncovers the fundamental weaknesses in Pan Am's communication and corporate security management policies which created an environment where good aviation security was impossible. The government's unusual role in protecting sensitive aviation security information that was introduced at trial is also described. The jury eventually found defendant Pan American Airways liable for \"willful misconduct.\"\n\nLockerbie criminal trial\nThe criminal trial was held in 2000 at a specially convened Scottish Court in the Netherlands. Two Libyans were accused of carrying out the Lockerbie bombing: one was convicted on 270 counts of murder (Abdelbaset al-Megrahi) and was sentenced to life imprisonment; the other was found not guilty (Lamin Khalifah Fhimah) and was released.\n\nReferences\n\nPan Am Flight 103\nBooks about terrorism\nAviation books" ]
[ "Jack Thompson (activist)", "Video games", "When did THompson get interested in video games?", "I don't know.", "When was his first lawsuit involving video games?", "Thompson got involved in a case involving an adult on one occasion in 2004.", "What was the claim in that case?", "This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio.", "How was this related to video games?", "When McCoy was captured, a game console and a copy of The Getaway were in his motel room.", "Whom did he represent in the suit?", "Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence.", "Was this a criminal or civil trial?", "I don't know." ]
C_532f466e456c4ef386ece86c5deb7398_1
Did Thompson do any writing about video games?
7
Did Jack Thompson do any writing about video games?
Jack Thompson (activist)
Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy, Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". CANNOTANSWER
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John Bruce Thompson (born July 25, 1951) is an American activist and disbarred attorney, based in Coral Gables, Florida. He is known for his role as an anti-video-game activist, particularly against violence and sex in video games. During his time as an attorney, Thompson focused his legal efforts against what he perceives as obscenity in modern culture. This included rap music, broadcasts by shock jock Howard Stern, and the content of video games and their alleged effects on children. He is also known for his unusual filings to The Florida Bar, including challenging the constitutionality of The Florida Bar itself in 1993. Later the Florida Supreme Court described his filings as "repetitive, frivolous and insulting to the integrity of the court". On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. In July 2008, Thompson was permanently disbarred by the Supreme Court of Florida for inappropriate conduct, including making false statements to tribunals and disparaging and humiliating litigants. Background Thompson grew up in Cleveland, Ohio, attended Cuyahoga Falls H.S. and attended Denison University. He received media attention when he hosted his own political talk show on the college radio station. He then attended Vanderbilt University Law School, where he met his wife, Patricia. In 1976, they moved to Florida, where Thompson, working as a lawyer and then a fund-raiser for a Christian ministry, began attending the Key Biscayne Presbyterian Church and became a born-again Christian. Thompson admits to having a "colorful disciplinary history" as an attorney. The Neil Rogers Show In 1988, Thompson became involved in a feud with WIOD Radio host Neil Rogers, after Thompson was instrumental in persuading the FCC to fine WIOD $10,000 for airing such parody songs as "Boys Want Sex in the Morning" on Rogers' show. Thompson also sued the station for violating a December 1987 agreement to end on-air harassment against him. For the next eight months, Thompson recorded all of Rogers' broadcasts and documented 40,000 mentionings of his name. Thompson claimed that one of the terms of his agreement with the station was that the station would pay him $5,000 each time his name was mentioned, totaling $200 million in the suit. Janet Reno Thompson first met Janet Reno in November 1975, when he applied for a job as an assistant state's attorney in Miami-Dade County, Florida, but was not hired. In 1988, he ran for prosecutor against then-incumbent Dade County State Attorney Janet Reno, after she had declined his request to prosecute Neil Rogers. Thompson gave Reno a letter at a campaign event requesting that she check a box to indicate whether she was homosexual, bisexual, or heterosexual. Thompson said that Reno then put her hand on his shoulder and responded, "I'm only interested in virile men. That's why I'm not attracted to you." He filed a police report accusing her of battery for touching him. In response, Reno asked Florida governor Bob Martinez to appoint a special prosecutor to investigate. The special prosecutor rejected the charge, concluding that it was "a political ploy". Reno was ultimately re-elected with 69% of the vote. Thompson repeated allegations that Reno was a lesbian when she was nominated as U.S. Attorney General, leading one of her supporters, lieutenant governor Buddy MacKay, to dismiss him as a "kook". In 1990, after his election loss, Thompson began a campaign against the efforts of Switchboard of Miami, a social services group of which Reno was a board member. Thompson charged that the group placed "homosexual-education tapes" in public schools. Switchboard responded by getting the Supreme Court of Florida to order that he submit to a psychiatric examination. Thompson did so and passed. Thompson has since stated that he is "the only officially certified sane lawyer in the entire state of Florida". Rap music Thompson came to national prominence in the controversy over 2 Live Crew's As Nasty As They Wanna Be album. (Luke Skyywalker Records, the company of 2 Live Crew's Luther Campbell, had previously released a record supporting Reno in her race against Thompson.) On January 1, 1990, he wrote to Martinez and Reno asking them to investigate whether the album violated Florida obscenity laws. Although the state prosecutor declined to proceed with an investigation, Thompson pushed local officials in various parts of the state to block sales of the album, along with N.W.A's Straight Outta Compton. In sending documents to opponents, Thompson would frequently attach a photocopy of his driver's license, with a photo of Batman pasted over his own. Thompson said, "I have sent my opponents pictures of Batman to remind them I'm playing the role of Batman. Just like Bruce Wayne helped the police in the movie, I have had to assist the sheriff of Broward County." He also wore a Batman wristwatch. Thompson compared Campbell to the Joker. Thompson also said, "I understand as well as anybody that the First Amendment is a cornerstone of a free society—but there is a responsibility to people who can be harmed by words and thoughts, one of which is the message from Campbell that women can be sexually abused." Thompson also took issue with another 2 Live Crew song, "Banned in the U.S.A.". He sent a letter to Jon Landau, manager of Bruce Springsteen, whose song "Born in the U.S.A." was to be sampled by the group. Thompson suggested that Landau "protect 'Born in the U.S.A.' from its apparent theft by a bunch of clowns who traffic toxic waste to kids," or else Thompson would "be telling the nation about Mr. Springsteen's tacit approval" of the song, which, according to Campbell, "expresses anger about the failure of the First Amendment to protect 2 Live Crew from prosecution". Thompson also said, "the 'social commentary' on this album is akin to a sociopath's discharging his AK-47 into a crowded schoolyard, with the machine gun bursts interrupted by Pee-wee Herman's views on politics". The members of 2 Live Crew responded to these efforts by suing the Broward County sheriff in federal district court. The sheriff had previously told local retailers that selling the album could result in a prosecution for obscenity violations. While they were granted an injunction because law enforcement actions were an unconstitutional prior restraint on free speech, the court ruled that the album was in fact obscene. However, an appellate court reversed the obscenity ruling, because simply playing the tape was insufficient evidence of the constitutional requirement that it had no artistic value. As the debate continued, Thompson wrote, "An industry that says a line cannot be drawn will be drawn and quartered." He said of his campaign, "I won't stop till I get the head of a record company or record chain in jail. Only then will they stop trafficking in obscenity". Bob Guccione Jr., founder of Spin magazine, responded by calling Thompson "a sort of latter-day Don Quixote, as equally at odds with his times as that mythical character was," and argued that his campaign was achieving "two things...: pissing everybody off and compounding his own celebrity". Thompson responded by noting, "Law enforcement and I put 2 Live Crew's career back into the toilet where it began." Thompson wrote another letter in 1991, this time to the Minnesota attorney general Skip Humphrey, complaining about the N.W.A album Niggaz4Life. Humphrey warned locally-based Musicland that sales of the album might violate state law against distribution of sexually explicit material harmful to minors. Humphrey also referred the matter to the Minneapolis city attorney, who concluded that some of the songs might fit the legal definition if issued as singles, but that sales of the album as a whole were not prosecutable. Thompson also initiated a similar campaign in Boston. Later, Thompson would criticize the Republican Party for inviting N.W.A member and party donor Eric "Eazy-E" Wright to an exclusive function. In 1992, Thompson was hired by the Freedom Alliance, a self-described patriot group founded by Oliver North, described as "far-right" by The Washington Post. By this time, Thompson was looking to have Time Warner, then being criticized for promoting the Ice-T song "Cop Killer", prosecuted for federal and state crimes such as sedition, incitement to riot, and "advocating overthrow of government" by distributing material that, in Thompson's view, advocated the killing of police officers. Time Warner eventually released Ice-T and his band from their contract, and voluntarily suspended distribution of the album on which "Cop Killer" was featured. Thompson's push to label various musical performances obscene was not entirely limited to rap. In addition to taking on 2 Live Crew, Thompson campaigned against sales of the racy music video for Madonna's "Justify My Love". Then in 1996, he took on MTV broadcasts for "objectification of women" by writing to the station's corporate parent, Viacom, demanding a stop to what he called "corporate pollution". He also went after MTV's advertisers and urged the United States Army to pull recruiting commercials, citing the Army's recruitment of women and problems with sexual harassment scandals. Video games Thompson has heavily criticized a number of video games and campaigned against their producers and distributors. His basic argument is that violent video games have repeatedly been used by teenagers as "murder simulators" to rehearse violent plans. He has pointed to alleged connections between such games and a number of school massacres. According to Thompson, "In every school shooting, we find that kids who pull the trigger are video gamers." Also, he claims that scientific studies show teenagers process the game environment differently from adults, leading to increased violence and copycat behavior. According to Thompson, "If some wacked-out adult wants to spend his time playing Grand Theft Auto: Vice City, one has to wonder why he doesn't get a life, but when it comes to kids, it has a demonstrable impact on their behavior and the development of the frontal lobes of their brain." Thompson has described the proliferation of games by Sony, a Japanese company, as "Pearl Harbor 2". According to Thompson, "Many parents think that stores won't sell an M-rated game to someone under 17. We know that's not true, and, in fact, kids roughly 50 percent of that time, all the studies show, are able to walk into any store and get any game regardless of the rating, no questions asked." Thompson has rejected arguments that such video games are protected by freedom of expression, saying, "Murder simulators are not constitutionally protected speech. They're not even speech. They're dangerous physical appliances that teach a kid how to kill efficiently and to love it," as well as simply calling video games "mental masturbation". In addition, he has attributed part of the impetus for violent games to the military, saying that it was looking "for a way to disconnect in the soldier's mind the physical act of pulling the trigger from the awful reality that a life may end". Thompson further claims that some of these games are based on military training and simulation technologies, such as those being developed at the Institute for Creative Technologies, which, he suggests, were created by the Department of Defense to help overcome soldiers' inhibition to kill. He also claims that the PlayStation 2's DualShock controller "gives you a pleasurable buzz back into your hands with each kill. This is operant conditioning, behavior modification right out of B. F. Skinner's laboratory." Although his efforts dealing with video games have generally focused on juveniles, Thompson got involved in a case involving an adult on one occasion in 2004. This was an aggravated murder case against 29-year-old Charles McCoy Jr., the defendant in a series of highway shootings the previous year around Columbus, Ohio. When McCoy was captured, a game console and a copy of The Getaway were in his motel room. Although not representing McCoy and over the objections of McCoy's lawyers, Thompson succeeded in getting the court to unseal a search warrant for McCoy's residence. This showed, among other things, the discovery of additional games State of Emergency, Max Payne, and Dead to Rights. However, he was not allowed to present the evidence to McCoy, whose defense team was relying on an insanity defense based on paranoid schizophrenia. In Thompson's estimation, McCoy was the "functional equivalent of a 15-year-old," and "the only thing insane about this case is the (insanity) defense". Early litigation Thompson filed a lawsuit on behalf of the parents of three students killed in the Heath High School shooting in 1997. Investigations showed that the perpetrator, 14-year-old Michael Carneal, had regularly played various computer games (including Doom, Quake, Castle Wolfenstein, Redneck Rampage, Nightmare Creatures, MechWarrior, and Resident Evil) and accessed some pornographic websites. Carneal had also owned a videotape of The Basketball Diaries, which includes a high school student dreaming about shooting his teacher and some classmates. The suit sought $33 million in damages, alleging that the producers of the games, the movie, and the operators of the Internet sites were negligent in distributing this material to a minor because it would desensitize him and make him more prone to violence. Additional claims included product liability for making "defective" products (the defects alleged were violent features and lack of warnings) and violation of RICO, the Racketeer Influenced and Corrupt Organizations Act, for distributing this material to minors. Said Thompson, "We intend to hurt Hollywood. We intend to hurt the video game industry. We intend to hurt the sex porn sites." The suit was filed in federal district court and was dismissed for failing to present a legally recognizable claim. The court concluded that Carneal's actions were not reasonably foreseeable by the defendants and that, in any case, his actions superseded those of the defendants, so the latter could not therefore be the proximate cause of the harm. In addition, the judge determined that "thoughts, ideas and images" in the defendants' materials did not constitute "products" that could be considered defective. The ruling was upheld on appeal. Grand Theft Auto Actions in law Ohio In February 2003, Thompson asked permission to file an amicus curiae (or "friend of the court") brief in the Ohio case of Dustin Lynch, 16, who was charged with aggravated murder in the death of JoLynn Mishne; Lynch was "obsessed" with Grand Theft Auto III. When Judge John Lohn ruled that Lynch would be tried as an adult, Thompson passed a message from Mishne's father to the judge, asserting that "the attorneys had better tell the jury about the violent video game that trained this kid [and] showed him how to kill our daughter, JoLynn. If they don't, I will." In a motion sent to the prosecutor, the boy's court-appointed lawyer, and reporters, Thompson asked to be recognized as the boy's lawyer in the case. Medina County Prosecutor Dean Holman, however, said Thompson would be faced with deeply conflicting interests if he were to represent Dustin Lynch because he also advised Mishne's parents. Claiming that delays had weakened his case, Thompson asked Medina County Common Pleas Judge Christopher Collier to disqualify himself from presiding over the case because the judge had not ruled on Thompson's request for two months. The boy himself eventually rejected Thompson's offer, withdrawing his insanity plea. Lynch's mother, Jerrilyn Thomas, who had demanded that Collier appoint Thompson to defend her son, said she changed her mind after visiting with her son in jail, saying that the charge against him "has nothing to do with video games or Paxil, and my son's no murderer." Tennessee Thompson returned to file a lawsuit in Tennessee state court in October 2003 on behalf of the victims of two teenage stepbrothers who had pleaded guilty to reckless homicide, endangerment, and assault. Since the boys told investigators they were inspired by Grand Theft Auto III, Thompson sought $246 million in damages from the publisher, Take-Two Interactive, along with PlayStation 2 maker Sony Computer Entertainment America and retailer Wal-Mart. The suit charged that the defendants knew or should have known that the game would cause copycat violence. On October 22, 2003, the case was removed to the U.S. District Court for the Eastern District of Tennessee. Two days later, the plaintiffs filed a notice of voluntary dismissal, and the case was closed. Alabama Thompson was involved in a similar suit in Alabama in 2005 on behalf of the families of police personnel killed by Devin Moore, a teenager who was reportedly a compulsive Grand Theft Auto player. The lawyer's participation in the case, however, ran into a dispute over his pro hac vice, or temporary, admission to practice in that state. The opposing attorneys sought removal of the privilege by arguing that Thompson's conduct was unethical and claiming that he had threatened and harassed them in letters and emails. The judge added that Thompson had violated his gag order during Moore's criminal trial. Thompson tried to withdraw from the case, but his request was denied by the judge, who went ahead and revoked Thompson's temporary admission to the state bar. For his part, Thompson said he thought the judge was trying to protect Moore's criminal conviction at any cost. He also complained about the judge's ethics, saying a local attorney who claimed to have influence on the judge had assured him the case would be dismissed unless the attorney was on Thompson's team, and also claimed that Rockstar Entertainment and Take Two Interactive posted slanderous comments about him on their website. In the aftermath of this lawsuit, Thompson lobbied Alabama attorney general Troy King to file a civil suit and call on retailers not to sell "cop-killing games". After the slaying of another police officer in Gassville, Arkansas by Jacob D. Robida, an 18-year-old fugitive, Thompson again raised the possibility of a connection to Grand Theft Auto, but investigators found no evidence that video games were involved. Florida Thompson once reported that he had videotaped a Miami Best Buy employee selling a copy of Grand Theft Auto: Vice City to his son who was 10 at the time. In a letter to Best Buy, he wrote, "Prosecutions and public relations consequences should fall on your Minneapolis headquarters like snowflakes." He eventually sued the company in Florida, arguing that it had violated a law against sale of sexual materials deemed harmful to minors. In January 2005, Best Buy agreed that it would enforce an existing policy to check the identification of anyone who appeared to be 17 or under and tried to purchase games rated "M" (for mature audiences). No law in effect at the time prohibited selling "M" rated video games to juveniles. New Mexico In September 2006, Thompson and attorney Steven Sanders filed a suit in Albuquerque, New Mexico, against Sony, Take-Two, Rockstar Games, and teenage killer Cody Posey, for the wrongful death of three members of Posey's family. The suit, on behalf of surviving family members, claimed that "obsessively" playing Grand Theft Auto: Vice City made violence "pleasurable and attractive," disconnected violence from consequences, and caused Posey to "act out, copycat, replicate and emulate the violence" when in July 2004 he shot and killed his father, stepmother, and stepsister and then buried them under a manure pile. According to Thompson, "Posey essentially practiced how to kill on this game. If it wasn't for Grand Theft Auto, three people might not now be dead." The suit claimed that Thompson had been told by a sheriff's deputy that the game and a Sony PlayStation 2 were found at the ranch. The suit also claimed that the game taught Posey "how to point and shoot a gun in a fashion making him an extraordinarily effective killer without teaching him any of the constraints or responsibilities needed to inhibit such a killing capacity." The game in question does not actually teach the player anything about handling a firearm. Gary Mitchell, Posey's attorney, said Thompson contacted him "numerous times" before the trial, urging him to highlight the game in Posey's defense, but Mitchell said he "just didn't find it had any merit whatsoever." Take-Two reaction On March 14, 2007, Take-Two filed a lawsuit seeking to permanently enjoin Thompson from filing any public nuisance action against the company that would block the sales to minors of the unreleased video games Grand Theft Auto IV and Manhunt 2. The suit alleged that Thompson's lawsuits violated the company's First Amendment rights. Responding, Thompson said: "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, so arrogant, so dumb, even dumber than what they have to date done, that such a misstep would enable me to destroy Take-Two." On April 19, 2007, Thompson and Take-Two settled the suit, with Thompson agreeing not to seek any legal restriction on sales of Take-Two's games, threaten to sue the company, or accuse Take-Two of any wrongdoing based on the sale of any of its games. One analyst said that the settlement was likely to mute his public pronouncements and lawsuits against the company. However, upon the game's 2008 release, Thompson called Grand Theft Auto IV "the gravest assault upon children in this country since polio," and asked Minnesota Governor Tim Pawlenty to "pursue and file criminal charges against [Minnesota-based retailers] Target and Best Buy". He also sent a letter to Take-Two chairman Strauss Zelnick's attorney, addressed to Zelnick's mother, in which Thompson accused her son of "doing everything he possibly can to sell as many copies of GTA: IV to teen boys in the United States, a country in which your son claims you raised him to be a 'a Boy Scout'. ... More like the Hitler Youth, I would say." On May 1, 2008 Thompson appeared on the CNN Headline News program Glenn Beck, asserting that the game's sexual content made its sale to minors illegal, and that he was working with law enforcement to have criminal prosecutions brought. Thompson also filed a complaint with the Chicago Transit Authority about poster ads for the game at Chicago, Illinois bus stops. GameZone emails In September 2013, Thompson expressed his hatred of Grand Theft Auto V during a series of e-mails exchange with GameZone writer Lance Liebl during its launch week. The game happened to launch the day after the Washington Navy Yard shooting. Traditional media outlets such as Fox News and MSNBC sought out to find proof that violent video games, such as Grand Theft Auto V, had a role in the brutal killings. GameZone responded by writing an article that disagrees with this. These caught Thompson's attention, who then sent an e-mail to the site. "Look, Lance," he wrote in an email, "The American Psychological Association has established a causal link between these games and increased aggression. The Dept. of Defense uses them for that purpose." Liebl responded by offering Thompson a chance to come on the site and explain his stance, which he refused, describing gamers as "too brain-impaired to get it." Bully Beginning in 2005, Thompson supported a campaign to discourage Take-Two's subsidiary, Rockstar Games, from releasing a game called Bully, in which, according to Thompson, "what you are in effect doing is rehearsing your physical revenge and violence against those whom you have been victimized by. And then you, like Klebold and Harris in Columbine, become the ultimate bully." According to Thompson, the game "shows you how to—by bullying—take over your school. You punch people; you hit them with sling shots; you dunk their heads in dirty toilets. There's white-on-black crime in the game. You bludgeon teachers and classmates with bats. It's absolutely nuts." Thompson sued Wal-Mart, Best Buy, Target, Circuit City, GameStop, and Toys 'R' Us, seeking an order to bar the game's release. He also participated in a protest at Rockstar's office that also included students from Peaceaholics, a Washington, D.C. mentoring organization. Thompson said he hoped that the pressure would get retailers to refuse to carry the game. In March 2006, the Miami-Dade County Public Schools board unanimously passed a resolution criticizing the game and urging retailers not to sell the game to minors. Thompson also criticized Bill Gates and Microsoft for contracting with Rockstar Games to release the game on the Xbox. The Xbox version has since been cancelled for undisclosed reasons, but a version was released years later on the Xbox 360. In August 2006, Thompson requested a congressional subpoena for an early copy, threatening to file suit in Miami if he did not gain help from U.S. Rep. Cliff Stearns. Once the game is out, according to Thompson, "the horse will be out of the barn and it will be too late to do anything about it". Thompson argued that it violated Florida's public nuisance laws, which prohibit activities that can injure the health of the community. Rockstar Games co-founder Terry Donovan responded, saying "I would prefer it if we could simply make great games and not have to deal with misunderstanding and misperception of what we do." After receiving no response from Rockstar regarding an advance copy, Thompson filed the public nuisance complaint against Wal-Mart, Take-Two Interactive, and GameStop, demanding that he be allowed to preview the game before its October 17 release date. Take-Two offered to bring in a copy and let both Judge Ronald Friedman and Thompson view the game in the judge's chambers on October 12, 2006. The judge ultimately saw no reason to restrict sales and dismissed the complaint the next day. Thompson was critical of the judge's decision, telling the judge "You did not see the game... You don't even know what it was you saw," as well as accusing the Take-Two employee who demonstrated the game of avoiding the most violent parts. Blank Rome subsequently filed a motion to have Thompson's behavior declared "contempt for the court". Judge Friedman then recused himself from ruling, and instead filed a complaint against Thompson with The Florida Bar, calling Thompson's behavior "inappropriate by a member of the bar, unprofessional and contemptible". Thompson later drew attention to the game's main character, a 15-year-old male, being able to kiss other boys. Thompson wrote to ESRB president Patricia Vance, "We just found gay sexual content in Bully as Jimmy Hopkins makes out with another male student. Good luck with your Teen rating now." The ESRB responded by saying they were already aware that the content was in the game when they rated it. Manhunt During the aftermath of the murder of Stefan Pakeerah, by his friend Warren Leblanc in Leicestershire, England, the game Manhunt was linked after the media wrongfully claimed police found a copy in Leblanc's room. The police officially denied any link, citing drug-related robbery as the motive and revealing that the game had been found in Pakeerah's bedroom, not Leblanc's. Thompson, who had heard of the murder, claimed that he had written to Rockstar after the game was released, warning them that the nature of the game could inspire copycat killings: "I wrote warning them that somebody was going to copycat the Manhunt game and kill somebody. We have had dozens of killings in the U.S. by children who had played these types of games. This is not an isolated incident. These types of games are basically murder simulators. There are people being killed over here almost on a daily basis." Soon thereafter, the Pakeerah family hired Thompson with the aim of suing Sony and Rockstar for £50 million in a wrongful death claim. Jack Thompson would later vow to permanently ban the game during the release of the sequel Manhunt 2. Thompson said he planned to sue Take-Two/Rockstar in an effort to have both Manhunt 2 and Grand Theft Auto IV banned as "public nuisances", saying "killings have been specifically linked to Take-Two's Manhunt and Grand Theft Auto games. [I have] asked Take-Two and retailers to stop selling Take-Two's 'Mature' murder simulation games to kids. They all refuse. They are about to be told by a court of law that they must adhere to the logic of their own 'Mature' labels." The suits were eradicated when Take-Two petitioned U.S. District Court, SD FL to block the impending lawsuit, on the grounds that video games purchased for private entertainment could not be considered public nuisances. The following day, Thompson wrote on his website "I have been praying, literally, that Take-Two and its lawyers would do something so stupid, that such a misstep would enable me to destroy Take-Two. The pit Take-Two has dug for itself will be patently clear next week when I strike back." Mortal Kombat In October 2006, Thompson sent a letter to Midway Games, demanding they cease and desist selling the latest game in the Mortal Kombat series, Mortal Kombat: Armageddon, claiming that the game was illegally profiting on his likeness, because gamers could use the character creation option to make a character who looked like Thompson. Midway did not respond to his letter. Activism and lobbying In addition to filing lawsuits, Thompson has pushed for measures against similar games in a variety of public settings. He wrote a joint article in the Christian Science Monitor with Eugene F. Provenzo, a University of Miami professor who studies the effects of video games on children. Originally brought together to provide opposing viewpoints on 60 Minutes in the aftermath of the Columbine High School massacre, they said they had become friends and were collaborating on a book. They described themselves as having "a shared belief that first-person shooter video games are bad for our children, teaching them to act aggressively and providing them with efficient killing skills and romanticized and trivialized scenarios for killing in the real world". Thompson has supported legislation in a number of states that would ban sales of violent and sexually explicit video games to minors. In response to First Amendment concerns, he argued that the games were a "public safety hazard." However, he rejected as "completely unconstitutional" Hillary Clinton's proposed legislation to ban sales to minors of games rated "M" for Mature by the Entertainment Software Rating Board. Thompson contended that the government could not enforce a private-sector standard but had to depend on a Miller obscenity test. He charged that Clinton was simply positioning herself politically, with the support of the gaming industry, by proposing a bill which he felt she knew would be unconstitutional. In July 2005, Thompson sent a letter to several politicians urging them to investigate The Sims 2, alleging that the game contained nudity accessible by entering special codes. Thompson called the nudity inappropriate for a game rated "T" for Teen, a rating which indicates suitability for anyone 13 and older. Manufacturer Electronic Arts dismissed the allegations, with vice president Jeff Brown explaining that game characters have "no anatomical detail" under their clothes, effectively resembling Barbie dolls. Although the game does display blurred-out patches over body regions when characters are naked, such as when taking a shower, Brown said that was for "humorous effect" and denied there was anything improper about the game. Nevertheless, a command that could be entered into the in-game console in order to disable the blur effect was removed from the game in an expansion. No official reason was given for the change. In Louisiana, Thompson helped draft a 2006 bill sponsored by state representative Roy Burrell to ban the sale of violent video games to buyers under 18 (HB1381). In an effort to avoid constitutional problems, it avoided trying to define "violent" and instead adopted a variation of the Miller obscenity test: sales to minors would be illegal based on community standards if the game appealed to "the minor's morbid interest in violence", was patently offensive based on adult standards of suitability for minors, and lacked serious literary, artistic, political, or scientific value for minors. The bill was passed unanimously by the state House and approved by the Senate Judiciary A Committee, despite industry opposition and predictions that it too would be unconstitutional. The Shreveport Times editorialized that Thompson's support of the bill "should immediately set off alarms" and described Thompson as someone who "thrives on chasing cultural ambulances". In defense of the bill, Thompson said that it was needed for public safety, and that it was a "miracle" that a Columbine-type event hadn't happened yet in Louisiana. However, the ESA filed suit under Entertainment Software Association v. Foti, and U.S. District Judge James Brady issued a preliminary injunction, temporarily blocking the law from taking effect until full judicial review can be done. The law was permanently enjoined in late November 2006, and the state was ordered to pay the legal fees of the plaintiffs. Judge Brady was "dumbfounded" that state legislators and Louisiana Governor Kathleen Blanco wasted taxpayer money by trying to enact the law. At one point, Thompson was asked by the National Institute on Media and the Family to stop invoking the organization's name in his campaigns. NIMF president David Walsh felt Thompson cast the organization in a bad light whenever he brought up their name. "Your commentary has included extreme hyperbole and your tactics have included personally attacking individuals for whom I have a great deal of respect," Walsh said in an open letter to Thompson. Thompson has additionally worked to influence police investigations concerning violent acts which he views as being connected to violence in video games media. On June 2, 2006, Thompson suggested that West Feliciana Parish, Louisiana police detectives, investigating the murder of 55-year-old Michael Gore by 17-year-old Kurt Edward Neher, should look into the video games played by Neher. According to Sheriff J. Austin Daniel, an autopsy showed Gore was beaten to death as well as shot in the face. Concerning this, Thompson stated that "nobody shoots anybody in the face unless you're a hit man or a video gamer." Other public commentary Thompson predicted that the perpetrator of the Beltway sniper attacks would be "a teenaged boy, who plays video games" and speculated incorrectly that he "may indeed ride a bicycle to and from his shooting locations, his gun broken down and placed in a backpack while he pedals." Saying that the shooter, Lee Boyd Malvo, had "trained" on Halo, Thompson later claimed credit for this on The Today Show: "I predicted that the beltway sniper would be a teen-aged boy that trained on a game switched to sniper mode. And three months later, NBC reported that that's exactly what Malvo did. And Muhammad had him train on the game to suppress his inhibition to kill." John Muhammad was a Gulf War veteran and earned an expert marksmanship badge in the U.S. Army. Thompson has also criticized a Christian video game based on the Left Behind series. In Left Behind: Eternal Forces, players participate in "battles raging in the streets of New York," according to the game's fact sheet. They engage in "physical and spiritual warfare: using the power of prayer to strengthen your troops in combat and wield modern military weaponry throughout the game world." Thompson claims that the makers of the game are sacrificing their values. He said, "Because of the Christian context, somehow it's OK? It's not OK. The context is irrelevant. It's a mass-killing game." Left Behind author Tim LaHaye disagrees, saying "Rather than forbid young people from viewing their favorite pastime, I prefer to give them something that's positive." The dispute over the game has caused Thompson to sever ties with Tyndale House, which publishes both the Left Behind books and Thompson's book, Out of Harm's Way. Thompson has not seen the game, which he says has "personally broken my heart," but claims, "I don't have to meet Abraham Lincoln to know that he was the 16th president of the United States." In April 2007, only hours after the Virginia Tech shooting (and before Seung-Hui Cho was actually identified), Thompson predicted that the shooter had trained on the game Counter-Strike. According to Thompson, the game "drills you and gives you scenarios on how to kill them [and] gets you to kill them with your heart rate lower." He says that Seung-Hui "was in a hyper-reality situation in virtual reality." Though Seung-Hui had last been known to have played Counter-Strike in high school, four years prior to the shooting, Thompson asserts that "you don't drop it when you go to college, typically." Thompson disputed Seung-Hui's roommate's claim that Seung-Hui only used his computer to write fiction, on the grounds that "Cho was able to go room to room calmly, efficiently, coolly killing people." Prior to being identified, Thompson attributed the "flat effect on [Seung-Hui's] face" and the efficiency of his attack to video game rehearsals of the shooting. However, a search warrant released, listing the items found in Cho's dorm room, did not contain any video games, and a Washington Post story cited by Thompson later removed a paragraph stating that Seung-Hui enjoyed violent video games in high school. Despite all evidence indicating that Seung-Hui had not played Counter-Strike in years, Thompson continued to insist that "this is not rocket science. When a kid who has never killed anyone in his life goes on a rampage and looks like the Terminator, he's a video gamer." Thompson also sent a letter to Bill Gates, saying, "Mr. Gates, your company is potentially legally liable (for) the harm done at Virginia Tech. Your game, a killing simulator, according to the news that used to be in the Post, trained him to enjoy killing and how to kill." However, Microsoft did not create Counter-Strike – they only published the Xbox version of the game. The official Virginia state panel commissioned to investigate the shooting determined that Seung-Hui "played video games like Sonic the Hedgehog," and that "none of the video games [he had played] were war games or had violent themes." In December 2007, Thompson filed suit against Omaha, Nebraska Police Chief Thomas Warren, asking him to produce information on all "violent entertainment material" belonging to Robert Hawkins, who killed nine people, including himself, in a shooting at the Westroads Mall earlier that month. According to Omaha police, such information is not a matter of public record, as it is part of an ongoing criminal investigation. On February 15, 2008, Jack Thompson claimed that the actions of Steven Kazmierczak, who the previous day killed five people at Northern Illinois University before committing suicide, were influenced by the game Counter-Strike. In a subsequent news release, Thompson claimed that "We have a nation of Manchurian Candidate video gamers out there who are ready, willing, and able to massacre, and some of them will." Thompson also threatened the university with a lawsuit if the school did not provide copies of "all documents that reveal [Kazmierczak's] play of violent videogames." Relationship with the gaming industry and gamers Thompson's "high-profile crusades" have made him an enemy of video game aficionados. On occasion, Thompson has sparred directly with the gaming industry and its fans. In 2005, he wrote an open letter to Entertainment Software Association president Doug Lowenstein, making what he described as "a modest video game proposal" (an allusion to the title of Jonathan Swift's satirical essay, A Modest Proposal) to the video game industry: Thompson said he would donate $10,000 to a charity designated by Take-Two CEO Paul Eibeler if any video game company would create a game including the scenario he described in the letter. The scenario called for the main character, whose son was killed by a boy who played violent video games, to murder a number of industry executives (including one modeled on Eibeler) and go on a killing spree at the Electronic Entertainment Expo. Video game fans promptly began working to take Thompson up on his offer, resulting in the game I'm O.K – A Murder Simulator, among others. Afterwards, he claimed that his proposal was satire, and refused to make the promised donation. In response, Jerry Holkins and Mike Krahulik, the creators of gaming webcomic Penny Arcade and of the children's charity Child's Play, stepped in to make the $10,000 donation instead, writing in the memo field of their cheque, "For Jack Thompson, Because Jack Thompson Won't." Afterwards, Thompson tried unsuccessfully to get Seattle police and the FBI to investigate Holkins and Krahulik for orchestrating "criminal harassment" of him through articles on their site. Other webcomics have regularly incorporated references to Thompson, alluding to this incident as well as others. In 2006, two Michigan gamers began a project dubbed "Flowers for Jack", soliciting donations to deliver a massive floral arrangement to Thompson's office. The flowers were delivered in February along with a letter aimed at opening a dialogue between Thompson and the video gaming community. Thompson rejected this overture and forwarded the flowers to some of his industry foes, with such comments as "Discard them along with the decency you discarded long ago. I really don't care. Grind them up and smoke them if you like." Gamers have responded to Thompson's attempt to link the Virginia Tech massacre to the game Counter-Strike. Video game Web sites and young gamers on Internet message boards "teemed with anger" at what San Francisco Chronicle reporter Peter Hartlaub called "his serial misstatements," in some cases linking to YouTube videos of Thompson and dissecting his claims point by point. Jason Della Rocca, executive director of the International Game Developers Association, said, "It's so sad. These massacre chasers—they're worse than ambulance chasers—they're waiting for these things to happen so they can jump on their soapbox." In response, Thompson referred to Della Rocca as an "idiot" and a "jackass [...] paid not to connect the dots [connecting shootings to video games]," and compared himself to people who warned that the government should be more concerned about terrorism before the September 11, 2001 attacks. According to Della Rocca, Thompson then challenged him to a series of gaming debates, claiming that they could each make more than $3,000 per event. When Della Rocca suggested that neither he nor Thompson accept any money for the events, Thompson refused. In July 2009, Entertainment Consumers Association (ECA) president Hal Halpin posted a copy of an email exchange between himself and Thompson, stating, "I get messages (IMs, emails, FB notes, etc.) from members all the time, asking what the (almost daily) notes are from JT. Since this one's fairly harmless and I've redacted anything personal (not that I don't love getting his threatening cease and desist letters), I thought I'd share it as a pretty typical exchange." Halpin and Thompson have been vocal opponents since 1998, when Halpin ran the game retail trade association IEMA. The exchange was sparked by a guest editorial that Halpin entitled, "Perception is Everything" for IndustryGamers.com where he called for consumers and the industry to speak out against negative stereotyping of gamers. In March 2011, in response to the creation of a school shooter mod entitled School Shooter: North American Tour 2012, developed by Checkerboarded Studios on Valve's Source engine, Thompson emailed Valve's managing director, Gabe Newell, demanding that the mod be removed, as he speculated that Valve played a part in the mod's development. In the letter, Thompson stated that Half-Life was directly responsible for the Erfurt school massacre, as well as the Virginia Tech massacre and that Valve had until 5:00p.m. on March18 to remove the mod. The Howard Stern Show In 2004, Thompson helped get Howard Stern's show taken off a radio station in Orlando, Florida by filing a complaint with the Federal Communications Commission. Thompson objected to Stern's use of perceived obscenities on the air. He argued that "Either broadcasters will accept the light harness of decency that has been the law for decades and start cleaning up their acts, or the public's deepening outrage will foster a more fearsome governmental response." Thompson claimed to have received death threats from listeners of Stern's show, noting that "you'd expect that considering the IQ of people who listen to Howard Stern. Apparently they fail to realize that I might have caller ID." During his opposition to Howard Stern, Thompson was asked in an interview with a reporter if, by his standards, he would blame Christianity for the murders committed by Michael Hernandez, a fourteen-year-old who murdered one of his classmates in 2004, because Hernandez wrote a diary in which he constantly spoke about praying to God. Thompson replied, "The Bible doesn't promote killing innocent people, Grand Theft Auto does. Islam does." Thompson then expanded his comments in the same interview by saying, "Islam promotes the killing of innocent people. The Quran requires the infidel, whether Jew or Christian, to be killed. ... That's a core essence of the religion. ... Muhammad was a pirate who killed infidels and who advocated the killing of infidels—not a nice guy. Osama bin Laden is in keeping with his fine tradition." He later spoke in defense of Stern during the latter's legal dispute with CBS over promoting Sirius on-air before his switch to satellite radio. Thompson contended that the technology added by CBS to edit out profanity also could have worked to edit out Stern's references to Sirius. According to Thompson, "The reason why CBS chose not to edit Stern is that Stern's Arbitron ratings remained high and were arguably even enhanced by people tuning in to hear daily about Stern's running feud with CBS and his move to Sirius. In other words, CBS actually used Stern's discussion of his move to Sirius to make more money for CBS." CBS President Leslie Moonves responded, saying "You know what? You can't let people like that tell you what to put on the air or what not to put on the air. That would only open the door when suddenly next week, he says, 'Take David Letterman off the air or take C.S.I. off the air.' Or you know what? Everybody Loves Raymond was about, you know, sex last week or about a 70-year-old man—you know, we dealt with Peter Boyle having sex with Doris Roberts. 'Take that off the air.' That's something we can't let happen." The Florida Bar Actions against the bar In 1993, Thompson asked a Florida judge to declare The Florida Bar unconstitutional. He said that the Bar was engaged in a vendetta against him because of his religious beliefs, which he said conflicted with what he called the Bar's pro-gay, humanist, liberal agenda. He also said that the "wedding of all three functions of government into The Florida Bar, the 'official arm' of the Florida Supreme Court, is violative of the bedrock constitutional requirement of the separation powers and the 'checks and balances' which the separation guarantees." Thompson accepted a $20,000 out-of-court settlement. On January 7, 2002, Thompson sent the Supreme Court of Florida a letter regarding The Florida Bar's actions. The letter was filed with the court on January 10, 2002 and was treated as a petition for a writ of mandamus against The Florida Bar. Before any action was taken on the petition, Thompson sent the court another letter on January 28, 2002 voluntarily dismissing the case. The letter was filed with the court on January 30, 2002, and the Florida Supreme Court issued an order of dismissal on February 28, 2002. In January 2006, Thompson asked the Justice Department to investigate The Florida Bar's actions. "The Florida Bar and its agents have engaged in a documented pattern of this illegal activity, which may sink to the level of criminal racketeering activity, in a knowing and illegal effort to chill my federal First Amendment rights," Thompson wrote in a letter to Alex Acosta, interim U.S. attorney for the Southern District of Florida. In April 2006, Thompson filed another suit against The Florida Bar, this time in the U.S. District Court for the Southern District of Florida, alleging that the Bar harassed him by investigating what he called baseless complaints made by disgruntled opponents in previous disputes. His five-count complaint asked for more than $1 million in damages. The lawsuit alleged that the Bar was pursuing baseless ethics complaints brought against Thompson by Tew Cardenas attorneys Lawrence Kellogg and Alberto Cardenas of Miami, and by two lawyers from the Philadelphia office of Blank Rome, in violation of Thompson's constitutional rights. According to the lawsuit, the Bar looked at Thompson for violations of a bar rule that prohibits attorneys from making disparaging remarks about judges, other attorneys, or court personnel. Thompson also filed a motion with the court to order the mediation of his dispute with the Bar. Thompson commented, "I enjoy doing what I do and I think I've got a First Amendment right to annoy people and participate in the public square in the cultural war." Thompson also said he is optimistic his federal lawsuit will be successful. "I'm 100 percent certain that it will effect change, otherwise I would not have filed it." On April 25, 2006, The Florida Bar filed a motion to dismiss Thompson's complaint. The Bar argued that Thompson's complaint should be dismissed for a number of reasons, including the fact that the complaint failed to state a claim on which he could be granted relief. The Bar also argued that it was absolutely immune from liability for actions arising out of its disciplinary functions, that the Eleventh Amendment barred Thompson's recovery of damages, and that the court should dismiss the case pursuant to the abstention doctrine of Younger v. Harris. On May 4, 2006, Thompson filed a motion asking Judge Federico Moreno to recuse himself from the case, as Judge Moreno was a member of The Florida Bar. Citing an "abundance of caution," Judge Moreno recused himself on May 9, 2006 and referred the case to Chief Judge William Zloch for further action. Thompson did not, however, respond to the Bar's motion to dismiss the case. Finally, on May 17, 2006, Thompson filed a Notice of Voluntary Dismissal with the court, and the case was dismissed without prejudice. Filings In October 2007, then-Chief U.S. District Judge Federico Moreno sealed court documents submitted by Thompson in the Bar case that depicted "gay sex acts." Thompson's submission prompted U.S. District Judge Adalberto Jordan to order Thompson to show cause why his actions should not be filed as a grievance with the court's Ad Hoc Committee on Attorney Admissions, Peer Review and Attorney Grievance, but the order was dismissed after Thompson promised not to file any more pornography. Thompson then sent letters to acting U.S. Attorney General Peter Keisler and U.S. Senators Patrick Leahy and Arlen Specter demanding that Jordan be removed from his position for failing to prosecute Florida attorney Norm Kent, who Thompson claimed had "collaborated" with the Bar for 20 years to discipline him. In February 2008, the Florida Supreme Court ordered Thompson to show cause as to why it should not reject future court filings from him unless they are signed by another The Florida Bar member. The Florida Supreme Court described his filings as "repetitive, frivolous and insult[ing to] the integrity of the court," particularly one in which Thompson, claiming concern about "the court's inability to comprehend his arguments," filed a motion which he called "A picture book for adults", including images of "swastikas, kangaroos in court, a reproduced dollar bill, cartoon squirrels, Paul Simon, Paul Newman, Ray Charles, a handprint with the word 'slap' written under it, Bar Governor Benedict P. Kuehne, Ed Bradley, Jack Nicholson, Justice Clarence Thomas, Julius Caesar, monkeys, [and] a house of cards." (see ) Thompson claimed that the order "wildly infringes" on his constitutional rights and was "a brazen attempt" to repeal the First Amendment right to petition the government to redress grievances. In response, he sent a letter to U.S. Attorney General Michael Mukasey, referring to the show-cause order as a criminal act done in retaliation for his seeking relief with the court. On March 20, 2008, the Florida Supreme Court imposed sanctions on Thompson, requiring that any of his future filings in the court be signed by a member of The Florida Bar other than himself. The court noted that Thompson had responded to the show cause order with multiple "rambling, argumentative, and contemptuous" responses that characterized the show cause order as "bizarre" and "idiotic." Disbarment In February 2007, The Florida Bar filed disbarment proceedings against Thompson over allegations of professional misconduct. The action was the result of separate grievances filed by people claiming that Thompson made defamatory, false statements and attempted to humiliate, embarrass, harass or intimidate them. According to the complaint, Thompson accused Alberto Cardenas of "distribution of pornography to children", claimed that the Alabama judge presiding over the Devin Moore case "breaks the rules, even the Alabama State Bar Rules, because he thinks that the rules don't apply to him", and sent a letter to Blank Rome's managing partner, saying, "Your law firm has actively and knowingly facilitated by various means the criminal distribution of sexual material to minors." Thompson claims that the complaints violate state religious protections because his advocacy is motivated by his Christian faith. In May 2008, Miami-Dade Circuit Judge Dava Tunis, after reviewing 2,400 pages of transcripts and 1,700 pages of exhibits, recommended that Thompson be found guilty of 27 of the 31 violations of which he had been accused, including making false statements to tribunals, disparaging and humiliating litigants and other lawyers, and improperly practicing law outside of Florida. Thompson filed a motion with the Florida Supreme Court the day after the report was issued to strike Tunis' recommendations as vague for lack of detail. Previously, Thompson had attempted to have Tunis thrown off his case, and filed a complaint against her with the state Judicial Qualifications Commission, which is responsible for investigating judges. On June 4, 2008, prosecutor Sheila Tuma recommended 'enhanced disbarment' for Thompson, saying that Thompson demonstrated continued misconduct, a pattern of misconduct and persistently failed to admit any wrongdoing. Enhanced disbarment lengthens the period before an attorney may reapply for admission to the bar from five years to ten. After being prevented from making a speech to begin the disciplinary hearing, Thompson distributed his written objections to lawyers, a court reporter, and a newspaper reporter, departed the courtroom, and called the proceedings against him a "star chamber" and "kangaroo court". On July 8, 2008, Judge Tunis recommended permanent disbarment and a $43,675.35 fine for Thompson to the Florida Supreme Court, citing "cumulative misconduct, a repeated pattern of behavior relentlessly forced upon numerous unconnected individuals, a total lack of remorse or even slight acknowledgment of inappropriate conduct, and continued behavior consistent with the previous public reprimand... Over a very extended period of time involving a number of totally unrelated cases and individuals, the Respondent has demonstrated a pattern of conduct to strike out harshly, extensively, repeatedly and willfully to simply try to bring as much difficulty, distraction and anguish to those he considers in opposition to his causes... He does not proceed within the guidelines of appropriate professional behavior, but rather uses other means available to intimidate, harass, or bring public disrepute to those whom he perceives oppose him." The court approved the recommendation and fine on September 25, 2008, and ordered that Thompson be permanently disbarred effective 30 days from the date of the order so Thompson could close out his practice. He later filed for an emergency stay of the Florida Supreme Court's order with the U.S. District Court, which was ultimately denied. In an e-mail to media outlets, Thompson responded to the court's decision by stating, "The timing of this disbarment transparently reveals its motivation: this past Friday Thompson filed a federal civil rights action against The Bar, the Supreme Court, and all seven of its Justices. This rush to disbarment is in retribution for the filing of that federal suit. With enemies this foolish, Thompson needs only the loyal friends he has." He closed the email—in which he included the court ruling—with, "...this should be fun, starting now". On September 19, 2009, Thompson announced that he intended to resume practicing law as of October 1, 2009, claiming that he was "never disbarred" because all of the orders resulting in his disbarment were legal nullities. He dared The Florida Bar to get a court order to stop him. Other activities In 1992, a complaint from Thompson led Florida Secretary of State Jim Smith to withhold a $25,000 grant to the Miami Film Festival; Thompson claimed that the festival was using state money to show pornographic films. In response, Thompson was named an "Art Censor of the Year" by the ACLU. The next month, Thompson faced disbarment over allegations that he lied while making accusations against prominent Dade County lawyer Stuart Z Grossman. Thompson ultimately admitted violating bar rules of professional conduct, including charges that he contacted people represented by an attorney without first contacting their attorneys, and agreed to pay $3,000 in fines and receive a public reprimand. In 1999, Thompson represented the parents of Bryce Kilduff, an 11-year-old boy who committed suicide by hanging himself. Police believed that the death was an accident, and that Kilduff was imitating Kenny, a character from the Comedy Central series South Park, which Bryce, according to his parents, had never watched. Thompson called for Comedy Central to stop marketing the show and toys based on the series to children. "You see, the whole show—thrust of the show is it's—it's cool for kids to act like the characters in South Park." Prior to Thompson's disbarment, attorney Norm Kent filed a personal lawsuit against him, which eventually resulted in Thompson paying Kent $50,000 for defamation. Thompson reacted to the suit by threatening employees at one of Kent's clients, Beasley Broadcast Group, with lawsuits and depositions unless they got Kent to drop his case. In January 2005, Beasley hired attorney Lawrence A. Kellogg of law firm Tew Cardenas, LLP, to manage Thompson's threats. Because Kellogg delayed arranging a meeting with him, Thompson on March 17 began a campaign targeting the firm's name partner Al Cardenas, a former chair of the Republican Party of Florida, accusing him of personally being involved in "a statewide racketeering activity" in a letter sent to the media, Florida Attorney General Charlie Crist, and Florida Governor Jeb Bush. Kellogg then filed a complaint to The Florida Bar that figured largely in Thompson's disbarment. On April 30, Thompson extended his campaign against Cardenas to an attempt at embarrassing him as a trustee of Florida A&M University, a historically black university. In an email sent to FAMU interim president Castell V. Bryant, the media, the FCC, and Governor Bush, he cites racist remarks made by a caller to The Howard Stern Show to suggest that Cardenas put "profit ahead of race relations", even though Beasley, which owned a station broadcasting Stern's show, was not among Al Cardenas's clients. On February 21, 2007, Thompson filed a complaint with the Florida Judicial Qualifications Commission against Judge Larry Seidlin, accusing Seidlin of "violating nearly every judicial canon" in conducting a hearing on the disposition of the body of Anna Nicole Smith. On June 28, 2007, Thompson filed a complaint with the State Attorney's Office, asking for an investigation and possible prosecution regarding accusations that Seidlin inappropriately accepted expensive gifts. In March 2008, Thompson called for the New York State Supreme Court's Appellate Division to immediately suspend the law license of former state governor Eliot Spitzer, who had resigned from the position amidst reports he was a client of a prostitution ring. Thompson said that the Disciplinary Committee for the Appellate Division's First Department should stop Spitzer from practicing law until the matter was resolved, noting that Spitzer did not claim innocence in his initial public apology. In an April 2016 interview with Inverse, Thompson stated that he was teaching civics classes to inmates in the Florida prison system, including an American history and constitutional law class at the Everglades Correctional Institution. Facebook lawsuit Thompson filed a lawsuit for $40 million against Facebook in the U.S. District Court for the Southern District of Florida on September 29, 2009. Thompson claimed that the social networking site had caused him "great harm and distress" by not removing angry postings made by users in several Facebook groups. Thompson withdrew his case less than two months later. According to Parry Aftab, a cyber-law attorney, Thompson would likely not have had any success because the U.S. Communications Decency Act provides that companies such as Facebook have no liability for what users do with their services in most cases. Bibliography Out of Harm's Way. Wheaton, IL: Tyndale House Publishers, 2005. . See also James v. Meow Media – Thompson represented the plaintiffs. Strickland v. Sony – Thompson represented the plaintiffs. Jacob Robida – Thompson commented to the media about the case. GamePolitics.com – Frequently covered Thompson. Spencer Halpin's Moral Kombat – Thompson is interviewed in the documentary. Playing Columbine – Thompson is interviewed in the documentary. References External links The Florida Bar's Member page of John Bruce Thompson Jack Thompson versus Adam Sessler on G4's Attack of the Show! Jack Thompson vs Paul Levinson on CNBC Thompson interviewed on Free Talk Live 1951 births Denison University alumni Living people American activists American Christians Video game censorship Florida lawyers Lawyers from Cleveland Disbarred American lawyers Vanderbilt University alumni People from Coral Gables, Florida Activists from Ohio
false
[ "The Last Dynasty is a 1995 video game developed by Coktel Vision and published by Sierra On-Line for Microsoft Windows. A Sega Saturn version was fully completed but never released.\n\nCritical reception\nComing Soon Magazine rated the game 91/100, writing, \"I deliberately did not talk about the scenario because it would remove all the interest of the story when you buy the game. However, the fact that it features several hours of dialogue, SVGA graphics all throughout the game, lots of video sequences, action and adventure, should convince you that The Last Dynasty is a great game. Besides, I forgot to mention many other details such as the over 20 different types of vessels including allies and enemies, the permanent help in the cockpit from your on-board computer, the exterior views, the adventure in real time, and lots more. So what do you want me to say to make you buy this game? It is a great work!\"\n\nComputer Gaming World gave the game a score of 40%, writing, \"If this game was a big hit in Europe, then I guess it all comes back to the mystery of different sensibilities and expectations of a game. For all the glitter, The Last Dynasty doesn't offer anything more than you could have found on an Atari ST ten years ago, and the endless video clips leave the player feeling like flotsam carried away on the raging current of unchecked multimedia. If a game is going to force you into a dorky, clichéd character, the least it can do is give you some control over that character's destiny, instead of forcing you to watch him say and do dumb things.\"\n\nReferences\n\n1995 video games\nAdventure games\nSierra Entertainment games\nCoktel Vision games\nVideo games developed in France\nWindows games\nWindows-only games\nCancelled Sega Saturn games", "Buzz!: The Schools Quiz is an educational game based on the popular Buzz! series of games. The game was developed by Relentless Software in association with the UK Government's Department for Education and Skills (DfES), and it was released for the PlayStation 2 exclusively in the United Kingdom. The game's 5,000 questions are based on the Key Stage 2 Curriculum that covers children between the ages of 7 and 11 years.Although the game is published by Sony the development cost were covered by Relentless themselves and a Government grant from DfES to fund the initial prototype.\n\nRounds\nFastest Finger - A traditional round of Buzz! games. Players press their coloured buttons as fast as they can and see if they can get the questions right.\nPie Fight - A round which first appeared in Buzz! The Mega Quiz, when a player gets a question correct they choose who they want to throw a pie at but they have to be careful, they could throw it at themselves!\nFact or Fiction - Another round that was also in Buzz! The Mega Quiz. The questions take the form of Buzz making a statement and players use the blue and orange buttons to say if the statement is fact or fiction.\nGeneral Knowledge - New to Buzz! You select your subject and everyone answers a question on it.\nTop Rank - Players put the answers in the correct order as fast as they can!\nThe Final Countdown - Players' points are turned into time and however long they take to answer a question, their chances of winning goes down. Last one standing wins the game.\n\nVoices\n Buzz - Jason Donovan\n Rose - Nicky Birch\n Questions - Sally Beaumont\n\nReception\nProbably because Buzz!: The Schools Quiz was seen more as an educational aid rather than a game per se, the game wasn't reviewed in any of the regular games magazines and websites although the newspaper reviews that it did receive were positive. The Sunday Times gave it top marks of 5 stars and said \"The Schools Quiz is certainly no substitute for homework or proper revision, but it is a good way to reinforce what children have already learnt in class\" The Guardian gave the game 4/5 and said \"This game is a great way for both teachers and parents to make learning fun\"\n\nDespite the game being for use in UK schools only, it was criticised by US attorney Jack Thompson who was quoted in UK newspaper The Daily Telegraph as saying \"Video games have hurt far more people than they have helped,\", \"I don't see how they can be of any more benefit than normal teaching.\".\n\nAlthough in an email to UK video game website Eurogamer, Thompson stated that the quotes were \"a total fabrication\". Thompson continued \"I was never interviewed about Buzz. I had never heard about it until I was quoted having allegedly said this about it,\".\n\nReferences\n\nExternal links\nRelentless Software\n\n2008 video games\nBuzz!\nEurope-exclusive video games\nParty video games\nPlayStation 2 games\nPlayStation 2-only games\nSony Interactive Entertainment games\nVideo games developed in the United Kingdom\nMultiplayer and single-player video games" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions" ]
C_77c939cc827b4b0baac54366c653838a_1
What can you tell me about the reissues?
1
What can you tell me about the reissues in Electric Light Orchestra, 2001-2013: Non-performing work, reissues and miniature reunions?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
true
[ "\"Tell Me What You Want\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\n\nTrack listing\n7” Single: VS658\n \"Tell Me What You Want) 3.35\n \"Tell Me What You Want (Dub Mix)\" 3.34\n\n12” Single: VS658-12\n \"Tell Me What You Want (Extended Version)\" 6.11\n \"Tell Me What You Want (Extended Dub Mix)\" 5.41\n\nU.S. only release - 12” Single: MCA23596 (released 1985)\n \"Tell Me What You Want (U.S. Extended Remix)\" 6.08 *\n \"Tell Me What You Want (U.S. Dub Version)\" 5.18\n\n* The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\n\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\n\nChart performance\n\nReferences\n\nExternal links\n Tell Me What You Want at Discogs.\n\n1984 singles\nLoose Ends (band) songs\nSong recordings produced by Nick Martinelli\nSongs written by Carl McIntosh (musician)\nSongs written by Steve Nichol\n1984 songs\nVirgin Records singles", "\"Tell Me What You Want Me to Do\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\n\nTrack listings\nUS 7\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (instrumental) – 5:00\n\n12\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (album version) – 5:02\n\nUK CD\n \"Tell Me What You Want Me to Do\" – 4:16\n \"Goodbye\" (7\" Remix Edit) – 3:48\n \"Goodbye\" (Sidub and Listen) – 4:58\n \"Goodbye\" (Tevin's Dub Pt 1 & 2) – 6:53\n\nJapan CD\n \"Tell Me What You Want Me to Do\" – 4:10\n \"Tell Me What You Want Me to Do\" (instrumental version) – 4:10\n\nGermany CD\n \"Tell Me What You Want Me to Do\" (edit) – 4:10\n \"Just Ask Me\" (featuring Chubb Rock) – 4:07\n \"Tomorrow\" (A Better You, Better Me) – 4:46\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSee also\nList of number-one R&B singles of 1992 (U.S.)\n\nReferences\n\nTevin Campbell songs\n1991 singles\n1991 songs\nSongs written by Tevin Campbell\nSongs written by Narada Michael Walden\nSong recordings produced by Narada Michael Walden\nWarner Records singles\nContemporary R&B ballads\nPop ballads\nSoul ballads\n1990s ballads" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions", "What can you tell me about the reissues?", "Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends," ]
C_77c939cc827b4b0baac54366c653838a_1
What did they perform?
2
What did the Electric Light Orchestra perform in the reissues?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
"Livin' Thing" and "Mr Blue Sky"
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
false
[ "The situation, task, action, result (STAR) format is a technique used by interviewers to gather all the relevant information about a specific capability that the job requires. \n\n Situation: The interviewer wants you to present a recent challenging situation in which you found yourself.\n Task: What were you required to achieve? The interviewer will be looking to see what you were trying to achieve from the situation. Some performance development methods use “Target” rather than “Task”. Job interview candidates who describe a “Target” they set themselves instead of an externally imposed “Task” emphasize their own intrinsic motivation to perform and to develop their performance.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what the alternatives were.\n Results: What was the outcome of your actions? What did you achieve through your actions? Did you meet your objectives? What did you learn from this experience? Have you used this learning since?\n\nThe STAR technique is similar to the SOARA technique.\n\nThe STAR technique is also often complemented with an additional R on the end STARR or STAR(R) with the last R resembling reflection. This R aims to gather insight and interviewee's ability to learn and iterate. Whereas the STAR reveals how and what kind of result on an objective was achieved, the STARR with the additional R helps the interviewer to understand what the interviewee learned from the experience and how they would assimilate experiences. The interviewee can define what they would do (differently, the same, or better) next time being posed with a situation.\n\nReferences\n\nExternal links\nThe ‘STAR’ technique to answer behavioral interview questions\nThe STAR method explained\n\nJob interview", "In grammar, a correlative is a word that is paired with another word with which it functions to perform a single function but from which it is separated in the sentence. \n\nIn English, examples of correlative pairs are both–and, either–or, neither–nor, the–the (\"the more the better\"), so–that (\"it ate so much food that it burst\"), and if–then. \n\nIn the Romance languages, the demonstrative pro-forms function as correlatives with the relative pro-forms, as autant–que in French; in English, demonstratives are not used in such constructions, which depend on the relative only: \"I saw what you did\", rather than *\"I saw that, what you did\".\n\nSee also\nCorrelative conjunction\nPro-form (namely section Table of correlatives)\n\nParts of speech" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions", "What can you tell me about the reissues?", "Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,", "What did they perform?", "\"Livin' Thing\" and \"Mr Blue Sky\"" ]
C_77c939cc827b4b0baac54366c653838a_1
Were these well received by the public?
3
Were the Electric Light Orchestra reissues well received by the public?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London.
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
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[ "The Portsmouth Youth Voice Awards (known previously as \"the PYV Awards\") aims to recognise both individuals and organisations who have made a contribution to youth voice in the city.\n\nThe first awards ceremony in 2017 was hosted by Portsmouth Youth Voice chair Sayeeda Nur and Youth Voice Network director Peter Marcus.\n\nCeremonies \nThe first Portsmouth Youth Voice Awards took place as part of the Portsmouth Youth Social Action Conference on Thursday 16 February 2017, at Fratton Park, Portsmouth.\n\nThe Portsmouth Youth Social Action Conference was a full day of workshops, discussions and panels. It sought to bring together professionals from the public sector, the third sector, Councillors, youth organisations, and most importantly young people, to discuss, \"How do we enable more young people to get involved in volunteering and social action?\"\n\nThe conference was being jointly hosted by The Portsmouth Together Partnership, Pompey in the Community and Portsmouth Youth Voice and in association with Step Up To Serve and the #iwill campaign.\n\nEligibility and voting \nNominees for the six main categories (young person, teacher, school, public sector organisation, community organisation and youth organisation) were sought from the public, particularly young people. Over 30 nominations were received for the 2017 awards. These were then assessed by young people in the city in order to choose a winner.\n\nNominations for the Youth Voice Star of the year were drawn from those nominated for other awards, as well as on the recommendation of the chair of Portsmouth Youth Voice, the director of The Youth Voice Network and the chief service officer of Portsmouth Together. These were assessed by a panel put together by The Youth Voice Network.\n\nTV and media coverage \n\nThe 2017 awards received coverage on About My Area, a local news website.\n\nAwards \n\nIn 2017, there were 7 categories up for grabs, six of which were nominated by young people in the city. The winners are as follows:\n\nReferences\n\n2017 awards in the United Kingdom\nPortsmouth", "Aquí (\"Here\") is the title of the debut studio album by Mexican singer-songwriter Julieta Venegas, released on March 24, 1997. It was well received by the public. The two singles released were \"De Mis Pasos\" and \"Cómo Sé\".\n\nTrack listing\nThe album comprises 12 songs, all written by Venegas.\n\nSingles\nDe mis pasos\nCómo sé\n\n1997 debut albums\nJulieta Venegas albums\nAlbums produced by Gustavo Santaolalla" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions", "What can you tell me about the reissues?", "Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,", "What did they perform?", "\"Livin' Thing\" and \"Mr Blue Sky\"", "Were these well received by the public?", "at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London." ]
C_77c939cc827b4b0baac54366c653838a_1
Did they receive any recognition?
4
Did the Electric Light Orchestra receive any recognition?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin.
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
true
[ "This article lists the diplomatic missions of Transnistria. Transnistria is a state with limited recognition, that broke away from Moldova after the War of Transnistria in 1992. Transnistria did not receive recognition from any UN member states. It has been recognized as an independent state by Abkhazia, Nagorno-Karabakh and South Ossetia only. At present, Transnistria has three representative offices abroad.\n\nEurope\n \n Sukhumi (Representative office)\n\n Moscow (Official Diplomatic Bureau)\n \n Tskhinvali (Representative office)\n\nSee also \nForeign relations of Transnistria\nList of diplomatic missions in Transnistria\n\nReferences\n\nExternal links \n Ministry of Foreign Affairs of Pridnestrovian Moldavian Republic\n\nDiplomatic missions of\nTransnistria\nDiplomatic missions of Transnistria", "This article lists the diplomatic missions in Transnistria. Transnistria is a state with limited recognition, that broke away from Moldova after the War of Transnistria in 1992. Transnistria did not receive recognition from any UN member states. It has been recognized as independent state by Abkhazia, Nagorno-Karabakh and South Ossetia only. At present, the capital Tiraspol hosts no embassies, but two representative offices and one consulate.\n\nEmbassies \nTiraspol\n none\n\nRepresentative offices \nTiraspol\n\nConsulates \nTiraspol\n\n (Consular office)\n\nSee also \nForeign relations of Transnistria\nList of diplomatic missions of Transnistria\n\nReferences\n\nExternal links \n Ministry of Foreign Affairs of Pridnestrovian Moldavian Republic\n\nDiplomatic missions in\nTransnistria\nDiplomatic missions in Transnistria\nDiplomatic missions" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions", "What can you tell me about the reissues?", "Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,", "What did they perform?", "\"Livin' Thing\" and \"Mr Blue Sky\"", "Were these well received by the public?", "at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London.", "Did they receive any recognition?", "The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin." ]
C_77c939cc827b4b0baac54366c653838a_1
What can you tell me about the type of work they did aside from performing?
5
What can you tell me about the type of workElectric Light Orchestra did aside from performing?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
CANNOTANSWER
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
false
[ "Follow Me! is a series of television programmes produced by Bayerischer Rundfunk and the BBC in the late 1970s to provide a crash course in the English language. It became popular in many overseas countries as a first introduction to English; in 1983, one hundred million people watched the show in China alone, featuring Kathy Flower.\n\nThe British actor Francis Matthews hosted and narrated the series.\n\nThe course consists of sixty lessons. Each lesson lasts from 12 to 15 minutes and covers a specific lexis. The lessons follow a consistent group of actors, with the relationships between their characters developing during the course.\n\nFollow Me! actors\n Francis Matthews\n Raymond Mason\n David Savile\n Ian Bamforth\n Keith Alexander\n Diane Mercer\n Jane Argyle\n Diana King\n Veronica Leigh\n Elaine Wells\n Danielle Cohn\n Lashawnda Bell\n\nEpisodes \n \"What's your name\"\n \"How are you\"\n \"Can you help me\"\n \"Left, right, straight ahead\"\n \"Where are they\"\n \"What's the time\"\n \"What's this What's that\"\n \"I like it very much\"\n \"Have you got any wine\"\n \"What are they doing\"\n \"Can I have your name, please\"\n \"What does she look like\"\n \"No smoking\"\n \"It's on the first floor\"\n \"Where's he gone\"\n \"Going away\"\n \"Buying things\"\n \"Why do you like it\"\n \"What do you need\"\n \"I sometimes work late\"\n \"Welcome to Britain\"\n \"Who's that\"\n \"What would you like to do\"\n \"How can I get there?\"\n \"Where is it\"\n \"What's the date\"\n \"Whose is it\"\n \"I enjoy it\"\n \"How many and how much\"\n \"What have you done\"\n \"Haven't we met before\"\n \"What did you say\"\n \"Please stop\"\n \"How can I get to Brightly\"\n \"Where can I get it\"\n \"There's a concert on Wednesday\"\n \"What's it like\"\n \"What do you think of him\"\n \"I need someone\"\n \"What were you doing\"\n \"What do you do\"\n \"What do you know about him\"\n \"You shouldn't do that\"\n \"I hope you enjoy your holiday\"\n \"Where can I see a football match\"\n \"When will it be ready\"\n \"Where did you go\"\n \"I think it's awful\"\n \"A room with a view\"\n \"You'll be ill\"\n \"I don't believe in strikes\"\n \"They look tired\"\n \"Would you like to\"\n \"Holiday plans\"\n \"The second shelf on the left\"\n \"When you are ready\"\n \"Tell them about Britain\"\n \"I liked everything\"\n \"Classical or modern\"\n \"Finale\"\n\nReferences \n\n BBC article about the series in China\n\nExternal links \n Follow Me – Beginner level \n Follow Me – Elementary level\n Follow Me – Intermediate level\n Follow Me – Advanced level\n\nAdult education television series\nEnglish-language education television programming", "\"Don't Tell Me\" is the debut solo single recorded by Australian singer Ruel and produced by Grammy award-winner M-Phazes . The song was released in July 2017 and peaked at number 86 on the ARIA Chart in August 2017. The song is a musical declaration of his self-assurance. And he wrote it about committing sins and not even being Christian, and dating and falling in love at age 12 after his sisters mocked him and his parents said he was too young to fall in love.\n\nIn September 2017, Elton John played the song on BBC Radio 1, saying “From Australia, this is a 14 year old boy ... with an amazing track. It's astonishing someone so young can write something so good. I give up.” After the song faded, John added “Amazing record. Wow. All I can say about that is, we'll be playing more of him, I hope.” \n\nThe music video was released on 19 April 2018.\n\nBackground\nRuel wrote the song when he was 12 years old and was inspired by an evening spent sitting at the dinner table telling his parents and siblings about a girl he had a crush on. Ruel explained “My whole family was like, ‘Ruel, you don't know what you're talking about, you're way too young to think about that sort of stuff,‘ and that really frustrated me. I thought ‘they can't tell me how to feel’, so I wrote a song about it. I never thought it would lead to all of this.” The then 12 year old high school dropout later took matters into his own hands and argued in that song that love is NOT a choice.\n\nReception\nMike Wass from Idolator said \"[the] emotional vocal commands your attention from the opening line and he displays the songwriting maturity of a veteran.\" adding it \"reeks of quality.\" \nNastassia Baroni from Music Feeds said \"With defiant lyrics and uplifting M-Phazes-led production, the tender and soulful \"Don’t Tell Me\" makes clear Ruel is forging a path ahead for himself.\"\n\nauspOp said \"\"Don't Tell Me\" oozes class. It’s overflowing with soul and seriously, it's one of the songs of 2017.\" later adding \"[it's] staggeringly good; beautifully vocalled, impassioned and laced with nuances that are way beyond Ruel’s tender years. It’s astonishing to contemplate that, if he’s this good at just 14, where’s he going to be in five or ten years from now?\" \nNic Kelly from Project U called Ruel \"the boy with the absurdly brilliant voice\" and said the song \"has the piano work of a Meg Mac song and the structure of Rag'n'Bone Man on a good day.\" calling it \"Amazing.\"\n\nTrack listing\nOne-track single \n \"Don't Tell Me\" - 4:01\n\nDigital remixes \n \"Don't Tell Me\" - 4:01 \n \"Don't Tell Me\" (acoustic) - 4:01 \n \"Don't Tell Me\" (Jarami remix) - 3:08 \n \"Don't Tell Me\" (Jerry Folk remix) - 3:28 \n \"Don't Tell Me\" (IAMNOBODI remix) - 4:01\n\nCharts\n\nCertifications\n\nRelease history\n\nReferences\n \n\n2017 singles\n2017 songs\nRuel (singer) songs\nRCA Records singles\nSongs written by M-Phazes\nSongs written by Ruel (singer)" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions", "What can you tell me about the reissues?", "Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,", "What did they perform?", "\"Livin' Thing\" and \"Mr Blue Sky\"", "Were these well received by the public?", "at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London.", "Did they receive any recognition?", "The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin.", "What can you tell me about the type of work they did aside from performing?", "I don't know." ]
C_77c939cc827b4b0baac54366c653838a_1
Did they collaborate with anyone of note ?
6
Did Electric Light Orchestra collaborate with anyone of note ?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
CANNOTANSWER
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
false
[ "is the pen name of a Japanese manga writer, best known for authoring the Death Note manga series with illustrator Takeshi Obata from 2003 to 2006, which has 30 million collected volumes in circulation. The duo's second series, Bakuman. (2008–2012), was also successful with 15 million in circulation. In 2014, Ohba collaborated with My Little Monster creator Robico for the one-shot \"Skip! Yamada-kun\". Another series with Obata called Platinum End began in the December 2015 issue of Jump SQ on November 4, 2015.\n\nOhba's real identity is a closely guarded secret. They have cited Shotaro Ishinomori, Fujiko Fujio, and Fujio Akatsuka as manga creators by whom they are heavily inspired. As stated by the profile placed at the beginning of each Death Note manga, Ohba collects teacups and develops manga plots while holding their knees on a chair, similar to a habit of L, one of the main characters of the series. There is speculation that Tsugumi Ohba is a pen name of Hiroshi Gamo, pointing out that in Bakuman the main character's uncle was a one-hit wonder manga artist who worked on a gag super-hero manga, very similar to Gamo and Tottemo! Luckyman in all aspects, and also that the storyboards drawn by Ohba greatly resemble Tottemo! Luckyman in style.\n\nWorks \n Death Note with Takeshi Obata (2003–2006)\nCenters on high school student Light Yagami, who discovers a supernatural notebook that allows him to kill anyone by writing the victim's name (and knowing their face). The plot follows his attempt to create and lead a world \"cleansed of evil\" which he will rule as \"God\" using the notebook, and the conflicts between himself and anyone he sees as an obstacle, from law enforcement to the mafia to the greatest detective in the world.\n Bakuman with Takeshi Obata (2008–2012)\nRevolves around two high school students who team up to try to create a successful manga, so it will be made into an anime in order for the artist of the group, Moritaka Mashiro, to fulfill the promise he made to a girl named Miho Azuki, whose dream is to become a voice actress for anime, as well as the dream of Akito Takagi, the writer of the duo.\n with Robico (2014)\n Platinum End with Takeshi Obata (2015–2021)\n\nAwards and nominations\n 2007 Nominated – Tezuka Osamu Cultural Prize Grand Prize for Death Note\n 2008 Nominated – Angoulême International Comics Festival Official Selection for Death Note\n 2008 Won – Eagle Award for Favourite Manga for Death Note\n 2010 Nominated – Manga Taishō for Bakuman.\n\nReferences\n\nExternal links \n \n\nDeath Note\nLiving people\nManga artists from Tokyo\nPseudonymous writers\nUnidentified people\nYear of birth missing (living people)\nManga writers", "Paulo Mendonça is a Swedish funk guitarist of Portuguese origin. He has made five studio albums and one live album, the first three in the 1990s He toured with Tina Turner among others. In 2008, he collaborated on Jeff Scott Soto's album, Beautiful mess. In 2013, he released Does anyone wanna funk? which featured the song Birds and the bees, a moderate success in Sweden and Germany \n\nHe was one of the first musicians ever to collaborate with the Swatch Group to provide tunes for its Melody line of wristwatches. His latest collaboration with Swatch is the PAULO MENDONCA-11 PM model, from the Winter 2013 collection.\n\nDiscography\n\nAlbums\n\nSingles\n\nDiscography and certifications as songwriter \nA discography of songs written and/or produced by Paulo Mendonca.\n\nReferences\n\nExternal links \n Official site\n YouTube page\n Facebook page\n Instagram page\n Twitter account\n Last.fm artist page\n Spotify artist page\n Apple Music artist page\n\nYear of birth missing (living people)\nLiving people\nBrazilian guitarists\nBrazilian bass guitarists\nMale bass guitarists" ]
[ "Electric Light Orchestra", "2001-2013: Non-performing work, reissues and miniature reunions", "What can you tell me about the reissues?", "Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,", "What did they perform?", "\"Livin' Thing\" and \"Mr Blue Sky\"", "Were these well received by the public?", "at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London.", "Did they receive any recognition?", "The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin.", "What can you tell me about the type of work they did aside from performing?", "I don't know.", "Did they collaborate with anyone of note ?", "I don't know." ]
C_77c939cc827b4b0baac54366c653838a_1
How many miniature reunions did they have?
7
How many miniature reunions did Electric Light Orchestra have?
Electric Light Orchestra
For the next six years, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live - The Early Years in the UK as a DVD compilation that included Fusion - Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of new recordings of ELO's greatest hits by Lynne; along with a new song "Point of No Return", released to coincide with Lynne's second solo album release Long Wave. These new 2012 albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. CANNOTANSWER
Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends,
The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements and futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan and keyboardist Richard Tandy were the group's only consistent members. ELO was formed out of Lynne's and Wood's desire to create modern rock and pop songs with classical overtones. It derived as an offshoot of Wood's previous band, the Move, of which Lynne and Bevan were also members. During the 1970s and 1980s, ELO released a string of top 10 albums and singles, including two LPs that reached the top of British charts: the disco-inspired Discovery (1979) and the science-fiction-themed concept album Time (1981). In 1986 Lynne lost interest in the band and disbanded the group. Bevan responded by forming his own band, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO remained largely inactive until 2014, when Lynne re-formed the band with Tandy as Jeff Lynne's ELO. During ELO's original 13-year period of active recording and touring, they sold over 50 million records worldwide, and collected 19 CRIA, 21 RIAA, and 38 BPI awards. From 1972 to 1986, ELO accumulated 27 top 40 songs on the UK Singles Chart, and fifteen top 20 songs on the US Billboard Hot 100. The band also holds the record for having the most Billboard Hot 100 top 40 hits (20) without a number one single of any band in US chart history. In 2017, the key members of ELO (Wood, Lynne, Bevan and Tandy) were inducted into the Rock and Roll Hall of Fame. History 1970–1973: Formation and early albums In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971. Only the trio of Wood, Lynne and Bevan played on all songs, with Bill Hunt supplying the French Horn parts and Steve Woolam playing violin. It was released in the United States in March 1972 as No Answer. The name was chosen after a record company secretary had tried to ring the UK company to get the name of the album. They were unavailable so she left a note reading "No answer". "10538 Overture" became a UK top-ten hit. With both band's albums in the stores simultaneously, the Move and ELO both appeared on television during this period. ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, who Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments. However, Arden would manage Wizzard, despite Wood's negative comments towards Arden. Despite predictions from the music press that the band would fold without Wood, who had been the driving force behind the creation of ELO, Lynne stepped up to lead the band, with Bevan, Edwards, Gibson and Tandy (who had switched from bass to keyboards to replace Hunt) remaining from the previous line-up, and new recruits Mike de Albuquerque and Colin Walker joining the band on bass and cello, respectively. The new line-up performed at the 1972 Reading Festival on 12 August 1972. Barcus Berry instrument pick-ups, now sported by the band's string trio, allowed them to have proper amplification on stage for their instruments, which had previously been all but drowned out by the electrified instruments. The band released their second album ELO 2 in early 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic "Roll Over Beethoven" (which also incorporated the first movement of Beethoven's own Fifth Symphony). ELO also made their first appearance on American Bandstand. During the recording of the third album, Gibson was let go after a dispute over money, Mik Kaminski joined as violinist, and Walker left since touring was keeping him away from his family too much. Remaining cellist Edwards finished the cello parts for the album. The resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single "Showdown". After leaving Wizzard, Hugh McDowell returned as the group's second cellist, also in late 1973, in time to appear on the On the Third Day cover in some regions, despite not having played on the album. 1974–1982: Global success and concept albums For the band's fourth album, Eldorado, a concept album about a daydreamer, Lynne stopped multi-tracking strings and hired Louis Clark as string arranger with an orchestra and choir. ELO's string players still continued to perform on recordings, however. The first single off the album, "Can't Get It Out of My Head", became their first US top 10 hit, and Eldorado, A Symphony became ELO's first gold album. Mike de Albuquerque departed the band during the recording sessions as he wished to spend more time with his family, and consequently much of the bass on the album was performed by Lynne. Following the release of Eldorado, Kelly Groucutt was recruited as bassist and in early 1975, Melvyn Gale replaced Edwards on cello. The line-up stabilised as the band took to a decidedly more accessible sound. ELO had become successful in the US at this point and the group was a star attraction on the stadium and arena circuit, and regularly appeared on The Midnight Special more than any other band in that show's history with four appearances (in 1973, 1975, 1976 and 1977). Face the Music was released in 1975, producing the hit singles "Evil Woman", their third UK top 10, and "Strange Magic". The opening instrumental "Fire on High", with its mix of strings and acoustic guitars, saw heavy exposure as the theme music for the American television programme CBS Sports Spectacular in the mid-1970s. The group toured extensively from 3 February to 13 April 1976, playing 68 shows in 76 days in the US. Their sixth album, the platinum selling A New World Record, became their first UK top 10 album when it was released in 1976. It contained the hit singles "Livin' Thing", "Telephone Line", "Rockaria!" and "Do Ya", the last a re-recording of a Move song recorded for that group's final single. The band toured in support in the US only from September 1976 to April 1977 with a break in December, then an American Music Awards show appearance on 31 January 1977, plus a one-off gig in San Diego in August 1977. Casey Kasem said that the Electric Light Orchestra is the "World's first touring rock 'n' roll chamber group" before he played "Livin' Thing" at #28. A New World Record was followed by a multi-platinum selling album, the double-LP Out of the Blue, in 1977. Out of the Blue featured the singles "Turn to Stone", "Sweet Talkin' Woman", "Mr. Blue Sky", and "Wild West Hero", each becoming a hit in the United Kingdom. The band then set out on a nine-month, 92-date world tour, with an enormous set and a hugely expensive space ship stage with fog machines and a laser display. In the United States the concerts were billed as The Big Night and were their largest to date, with 62,000 people seeing them at Cleveland Stadium. The Big Night went on to become the highest-grossing live concert tour in music history up to that point (1978). The band played at London's Wembley Arena for eight straight sold-out nights during the tour, another record at that time. During an Australian tour in early 1978, Electric Light Orchestra were presented with 9 platinum awards for the albums Out of the Blue and New World Record. In 1979, the multi-platinum album Discovery was released, reaching number one on the UK Albums Chart. Although the biggest hit on the album (and ELO's biggest hit overall) was the rock song "Don't Bring Me Down", the album was noted for its heavy disco influence. Discovery also produced the hits "Shine a Little Love", their first and only No. 1 hit from 1972 to the present with any of the four major or minor US singles charts on Radio & Records (R&R), "Last Train to London", "Confusion" and "The Diary of Horace Wimp". Another song, "Midnight Blue", was released as a single in southeast Asia. The band recorded promotional videos for all the songs on the album. By the end of 1979, ELO had reached the peak of their stardom, selling millions of albums and singles, and even inspiring a parody/tribute song on the Randy Newman album Born Again, titled "The Story of a Rock and Roll Band". During 1979, Jeff Lynne also turned down an invitation for ELO to headline the August 1979 Knebworth Festival concerts. That allowed Led Zeppelin the chance to headline instead. In 1980, Jeff Lynne was asked to write for the soundtrack of the musical film Xanadu and provided half of the songs, with the other half written by John Farrar and performed by the film's star Olivia Newton-John. The film performed poorly at the box office, but the soundtrack did exceptionally well, eventually going double platinum. The album spawned hit singles from both Newton-John ("Magic", a No. 1 hit in the United States, and "Suddenly" with Cliff Richard) and ELO ("I'm Alive", which went gold, "All Over the World" and "Don't Walk Away"). The title track, performed by both Newton-John and ELO, is ELO's only song to top the singles chart in the United Kingdom. More than a quarter of a century later, Xanadu, a Broadway musical based on the film, opened on 10 July 2007 at the Helen Hayes Theatre to uniformly good reviews. It received four Tony Award nominations. The musical received its UK premiere in London in October 2015. Casey Kasem called The Electric Light Orchestra a "seven-man supergroup" and "amazing" for hitting the top 40 a remarkable six times in a one-year period from August 1979 to August 1980 before playing "All Over the World" at #23. In 1981, ELO's sound changed again with the science fiction concept album Time, a throwback to earlier, more progressive rock albums like Eldorado. With the string section now departed, synthesisers took a dominating role, as was the trend in the larger music scene of the time; although studio strings were present on some of the tracks conducted by Rainer Pietsch, the overall soundscape had a more electronic feel in keeping with the futuristic nature of the album. Time topped the UK charts for two weeks and was the last ELO studio album to be certified platinum in the United Kingdom until Alone in the Universe in 2015. Singles from the album included "Hold On Tight", "Twilight", "The Way Life's Meant to Be", "Here Is the News" and "Ticket to the Moon". However, the release of the single for "Rain Is Falling" in 1982 was the band's first single in the US to fail to reach the Billboard Top 200 since 1975, and the release of "The Way Life's Meant to Be" similarly was their first single in the UK to fail to chart since 1976. The band embarked on their last world tour to promote the LP. For the tour, Kaminski returned to the line-up on violin, whilst Louis Clark (synthesizers) and Dave Morgan (guitar, keyboards, synthesizers, vocals) also joined the on stage lineup. Clark had previously handled string arrangements for the band. 1983–1986: Secret Messages, Balance of Power, disbanding Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down from double album to a single disc and released as Secret Messages in 1983 (many of the out-takes were later released on Afterglow or as b-sides of singles). The album was a hit in the UK reaching the top 5; but its release was undermined by a string of bad news that there would be no tour to promote the LP. Lynne, discouraged by the dwindling crowds on the Time tour, CBS's order to cut Secret Messages down to one disc, and his falling out with manager Don Arden (he would eventually leave Arden and Jet by 1985), decided to end ELO in late 1983. Drummer Bevan moved on to play drums for Black Sabbath and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018). Secret Messages debuted at number four in the United Kingdom, but it fell off the charts, failing to catch fire with a lack of hit singles in the UK (though "Rock 'n' Roll Is King" was a sizeable hit in UK, the US and Australia) and a lukewarm media response. That same year, Lynne moved into production work, having already produced two tracks for Dave Edmunds' album Information, and he would go on to produce six cuts from his next one, Riff Raff, in 1984 and one cut on the Everly Brothers reunion album EB 84. He also composed a track for former ABBA member Agnetha Fältskog's 1985 album Eyes of a Woman. Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne's name; however, Lynne was contractually obliged to make one more ELO album. So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays. Though the single "Calling America" placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne. However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer. The Birmingham Heart Beat Charity Concert 1986 was a charity concert organised by Bevan in ELO's hometown of Birmingham on 15 March 1986, and ELO performed. A hint of Lynne's future was seen when George Harrison appeared onstage during the encore at Heartbeat, joining in the all-star jam of "Johnny B. Goode". ELO's last performance for several years occurred on 13 July 1986 in Stuttgart, Germany playing as opening act to Rod Stewart. With Lynne no longer under contractual obligation to attend further scheduled performances, ELO effectively disbanded after that final show in Stuttgart in 1986, but there was no announcement made of it for the next two years, during which George Harrison's Lynne-produced album Cloud Nine and the pair's follow-up (with Roy Orbison, Bob Dylan and Tom Petty as Traveling Wilburys) Traveling Wilburys Vol. 1 were released. 1989–1999: ELO Part II Bev Bevan (under an agreement with Lynne, who co-owned the ELO name with him) continued on in 1989 as ELO Part II, initially with no other former ELO members, but with ELO's main orchestra conductor, Louis Clark. Bevan also recruited Eric Troyer, Pete Haycock, and Neil Lockwood. ELO Part II released their debut album Electric Light Orchestra Part Two in May 1991. Mik Kaminski, Kelly Groucutt and Hugh McDowell, at the time working in a group called OrKestra, joined the group for their first tour in 1991. While McDowell did not stay, Groucutt and Kaminski became fully-fledged members. In 1994, after the departure of Haycock and Lockwood, the remaining five recorded Moment of Truth with their newest member, Phil Bates. This lineup toured extensively up to 1999. Bevan retired from the lineup in 1999 and sold his share of the ELO name to Jeff Lynne in 2000, after Lynne had expressed his dismay that in certain areas the band were billed as 'ELO', rather than with '...Part II' added, suggesting it was the original outfit. After Bevan left, the band continued after they changed its name to The Orchestra. In 2001 The Orchestra released their debut album No Rewind. 2000–2001: Reformation Lynne's comeback with ELO began in 2000 with the release of a retrospective box set, Flashback, containing three CDs of remastered tracks and a handful of out-takes and unfinished works, most notably a new version of ELO's only UK number one hit "Xanadu". In 2001 Zoom, ELO's first album since 1986, was released. Though billed and marketed as an ELO album, the only returning member other than Lynne was Tandy, who performed on one track. Guest musicians included former Beatles Ringo Starr and George Harrison. Upon completion of the album, Lynne reformed the band with completely new members, including his then-girlfriend Rosie Vela (who had released her own album, Zazu, in 1986) and announced that ELO would tour again. Former ELO member Tandy rejoined the band a short time afterwards for two television live performances: VH1 Storytellers and a PBS concert shot at CBS Television City, later titled Zoom Tour Live and released on DVD. Besides Lynne, Tandy and Vela, the new live ELO lineup included Gregg Bissonette (drums, backing vocals), Matt Bissonette (bass guitar, backing vocals), Marc Mann (guitars, keyboards, backing vocals), Peggy Baldwin (cello), and Sarah O'Brien (cello). However, the planned tour was cancelled, reportedly due to poor ticket sales. 2001–2013: Non-performing work, reissues and miniature reunions From 2001 to 2007, Harvest and Epic/Legacy reissued ELO's back catalogue. Included amongst the remastered album tracks were unreleased songs and outtakes, including two new singles. The first was "Surrender" which registered on the lower end of the UK Singles Chart at number 81, some 30 years after it was written in 1976. The other single was "Latitude 88 North". On 9 August 2010, Eagle Rock Entertainment released Live – The Early Years in the UK as a DVD compilation that included Fusion – Live in London (1976) along with never before released live performances at Brunel University (1973) and on a German TV show Rockpalast (1974). The US had a slightly edited release on 24 August 2010. The Essential Electric Light Orchestra artwork was re-jigged to feature two different covers. The US and Australian releases shared one design, while the rest of the world featured the other for a new double album release in October 2011. Mr. Blue Sky: The Very Best of Electric Light Orchestra was released on 8 October 2012. It is an album of re-recordings of ELO's greatest hits, performed by Lynne exclusively, along with a new song titled "Point of No Return". Released to coincide with Lynne's second solo album release Long Wave, these new albums contained advertisement cards, announcing the re-release of expanded and remastered versions of both the 2001 album Zoom and Lynne's debut solo album Armchair Theatre, originally released in 1990. Both albums were re-released in April 2013 with various bonus tracks. Also released was the live album, Electric Light Orchestra Live, showcasing songs from the Zoom tour. All three releases also featured new studio recordings as bonus tracks. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, "Livin' Thing" and "Mr. Blue Sky" at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London. The backing orchestra was the BBC Concert Orchestra, with Chereene Allen on lead violin. 2014–present: Jeff Lynne's ELO The success of the Children in Need performance was followed by support from BBC Radio 2 DJ Chris Evans, who had Lynne as his on-air guest and asked his listeners if they wanted to see ELO perform. The 50,000 tickets for the resulting BBC Radio 2's "Festival in a Day" in Hyde Park on 14 September 2014 sold out in 15 minutes. Billed as "Jeff Lynne's ELO", Lynne and Tandy were backed by the Take That/Gary Barlow band from the Children in Need concert, led by Mike Stevens and the BBC Concert Orchestra. Lynne chose to use the name as a response to ELO offshoot, tribute and imitation bands, (ELO Part II, The Orchestra, OrKestra and the Music of ELO) who repeatedly used the ELO name for promoting their own tours, justified or not. Chereene Allen was again the lead violinist for the band. The development of modern digital processing added a smoother finish to the work, which led Lynne to reconsider his preference for studio work, hinting at a UK tour in 2015. On 8 February 2015, Jeff Lynne's ELO played at the Grammy Awards for the first time. They performed a medley of "Evil Woman" and "Mr. Blue Sky" with Ed Sheeran, who introduced them as "A man and a band who I love". On 10 September 2015, it was announced that a new ELO album would be released. The album was to be under the moniker of Jeff Lynne's ELO, with the band signed to Columbia Records. Alone in the Universe was released on 13 November 2015. The album was ELO's first album of new material since 2001's Zoom. The first track, and single, "When I Was a Boy" was made available for streaming on the same day and a music video for the song was also released. A small promotional tour followed the album's release which saw Jeff Lynne's ELO perform a full concert for BBC Radio 2 along with their first two shows in the United States in 30 years, both which sold out very quickly. Jeff Lynne's ELO also made rare US television appearances on The Tonight Show Starring Jimmy Fallon, Jimmy Kimmel Live and CBS This Morning. A 19-date European tour was announced for 2016, with the band playing the Pyramid Stage at Glastonbury Festival on 26 June 2016. In 2017 they played their "Alone in the Universe" tour. That same year, on 7 April, they played at the Rock and Roll Hall of Fame as they were inducted during the 32nd Annual Induction Ceremony. The band continued to tour in 2018 in North America and Europe. A video was created for the City of Birmingham which used the original recording of "Mr. Blue Sky" as its music; this was played at the Gold Coast 2018 Commonwealth Games Closing Ceremony during the handover presentation of Birmingham 2022. On 3 August 2018, Secret Messages was reissued "as originally conceived" as a double album. It included several cut tracks, such as the CD exclusive bonus track "Time After Time", B-side exclusives "Buildings Have Eyes" and "After All", the Afterglow exclusives "Mandalay" and "Hello My Old Friend", and the 2001 reissue exclusives "Endless Lies" and "No Way Out". On 22 October 2018 Lynne announced that Jeff Lynne's ELO would embark on a 2019 North American tour from June to August 2019. ELO released their 14th album, From Out of Nowhere, on 1 November 2019. While a tour from the album was announced to begin in October 2020, the official Jeff Lynne's ELO Twitter page then later announced that the tour was cancelled due to the COVID-19 pandemic. Legacy and influence According to music journalist Simon Price, ELO was In November 2016, Jeff Lynne's ELO won Band of the Year at the Classic Rock Roll of Honour Awards. In October 2016, ELO were nominated for the 2017 class of the Rock and Roll Hall of Fame for the first time. It was the first time the Hall had announced in advance the members of bands who would be inducted; the members of ELO listed were Jeff Lynne, Roy Wood, Bev Bevan and Richard Tandy. On 20 December 2016, it was announced ELO had been elected to the Rock and Roll Hall of Fame Class of 2017. Personnel Principal members Jeff Lynne – vocals, guitars, bass, piano, keyboards, cello, drums, percussion (1970–1983, 1985–1986, 2000–2001, 2014–present) Roy Wood – vocals, guitars, bass, cello, oboe, bassoon (1970–1972) Bev Bevan – drums, percussion, backing vocals (1970–1983, 1985–1986) Richard Tandy – piano, keyboards, synthesizer, bass, guitar, backing vocals (1972–1983, 1985–1986, 2000–2001, 2014–2016, 2019–present) Discography The Electric Light Orchestra (1971) ELO 2 (1973) On the Third Day (1973) Eldorado (1974) Face the Music (1975) A New World Record (1976) Out of the Blue (1977) Discovery (1979) Xanadu (1980) (with Olivia Newton-John) (soundtrack album) Time (1981) (credited as ELO) Secret Messages (1983) Balance of Power (1986) Zoom (2001) Alone in the Universe (2015) (credited as Jeff Lynne's ELO) From Out of Nowhere (2019) (credited as Jeff Lynne's ELO) Notes References Further reading Bevan, Bev The Electric Light Orchestra Story (London: Mushroom, 1980) Van der Kiste, John Jeff Lynne: The Electric Light Orchestra, before and after (Stroud: Fonthill Media, 2015) External links Electric Light Orchestra – The official Facebook page by Legacy Recordings. Electric Light Orchestra Legacy Recordings site – ELO's page at their record label. Jeff Lynne's ELO – The official Jeff Lynne website. Jeff Lynne Song Database ELO|Rock & Roll Hall of Fame English art rock groups English progressive rock groups The Move Musical groups from Birmingham, West Midlands Musical groups established in 1970 Musical groups disestablished in 1986 Musical groups reestablished in 2000 Musical groups disestablished in 2001 Musical groups reestablished in 2014 Progressive pop musicians Symphonic rock groups Harvest Records artists Warner Records artists United Artists Records artists Jet Records artists Columbia Records artists Epic Records artists British soft rock music groups
true
[ "A class reunion is a meeting of former classmates, often organized at or near their former high school or college by one or more class members. It is scheduled near an anniversary of their graduation, e.g. every 5 or 10 years. Their teachers and administrators may also be invited. Those attending reminisce about their student days and bring one another up to date on what has happened since they last met.\n\nSome class reunions also include a reunion class gift to the institution.\n\n\n\nClass reunions in film, television, and literature\nIn film, television, and literature, class reunions have been a device used to show the eruption of emotions such as shame, hatred, and guilt within individual characters who, suddenly faced again with their own youth, become aware that they have been unable to cope with their past.\n\nThose who used to be mistreated by their teachers or classmates believe they can now take revenge on their former torturers. Participants often nostalgically reminisce about their old school days or fondly remember their school pranks. They can be concerned about how their lives have turned out compared with the lives of their former classmates, and can feel pressured enough to fabricate stories about their careers, personal accomplishments, and relationships.\n\nAnother theme of this kind of fiction is former classmates taking up with their old flames again, either because they have developed into an admirable adult or for the opposite reason—because they have not changed at all.\n\nFilms, revolving around class reunions include:\n\n Classmates\n '96\n Falling in Love Again (1980)\n National Lampoon's Class Reunion (1982)\n The Big Chill (1983)\n Peggy Sue Got Married (1986)\n “Archie: To Riverdale and Back Again” (1990)\n Kenneth Branagh's Peter's Friends (1992)\n Beautiful Girls (1996)\n George Armitage's Grosse Pointe Blank (1997)\n Romy and Michele's High School Reunion (1997)\n Since You've Been Gone (1998)\n 10 years (2011)\n American Reunion (2012)\n Back in the Day (2014)\n Central Intelligence (2016)\n\nFiction, revolving around class reunions include:\n\nTim O'Brien's July, July (2002)\nBen Elton's Past Mortem (2004)\nPaul Reizin's Fiends Reunited (2004)\nPhilip Roth's American Pastoral (1997)\nSimone van der Vlugt's De reünie'' (2004)\n\nTelevision shows, loosely based on class reunions include:\n\nThe Class of '62-episode of the Sitcom Only Fools and Horses (1991)\nMother and Child Reunion-episode of the teen drama Degrassi: The Next Generation (2001)\nGCB (2012)\n\nImage gallery\n\nSee also\n\n School and university in literature\n\nReunions\nSchool terminology\nStudent culture\nNostalgia", "Miniature horses are horses defined by their small height. They can be found in many nations, particularly in Europe and the Americas, and are the result of centuries of selective breeding. Depending on the particular breed registry involved, the height of these horses is usually less than tall at the withers. While miniature horses fit a height-based definition to be considered a very small pony, many retain the physical appearance of the full sized horse and are thus considered \"horses\" by their respective registries. They have various colors and coat patterns.\n\nMiniature horses are generally bred to be friendly and to interact well with people. For this reason they have been kept as family pets, though they still retain natural horse behavior, including a natural fight or flight instinct, and must be treated like any full-sized equine, even if they primarily serve as a companion animal. They have also been trained as service animals, akin to assistance dogs. Miniature horses are also trained for driving, equine agility, and other competitive horse show events.\n\nCharacteristics and registration\n\nThere are two registries in the United States for miniature horses: the American Miniature Horse Association (AMHA) and the American Miniature Horse Registry (AMHR). The AMHA was founded in 1978 and was dedicated to establishing the miniature horse as a distinct breed of horse. Many of the international organizations are associated with the AMHA, including clubs throughout Canada and in several European countries. The AMHR is a division of the American Shetland pony Club and was established as a separate registry in 1972. \nWorldwide, there are dozens of miniature horse registries. Some organizations emphasize breeding of miniatures with horse characteristics, others encourage minis to retain pony characteristics. Along with registries for miniature horses in general, there are also breed-specific registries, such as several for the Falabella horse.\n\nIn the AMHR, Miniatures cannot exceed 38 inches at the withers (which the AMHR defines as located at the last hair of the mane). There are two divisions in AMHR: the \"A\" division for horses and under, and the \"B\" division for horses . The AMHA requires that horses stand under 34 inches. Horses of any eye or coat color, and any form of white markings, are allowed to be registered. The AMHA standard suggests that if a person were to see a photograph of a miniature horse, without any size reference, it would be identical in characteristics, conformation, and proportion to a full-sized horse. According to the AMHR, a \"Miniature should be a small, sound, well-balanced horse and should give the impression of strength, agility and alertness. A Miniature should be eager and friendly but not skittish in disposition.\"\n\nThey are generally quite hardy, often living longer on average than some full-sized horse breeds; the average life span of miniature horses is from 25 to 35 years. However, there are also some health issues that are more frequently found in miniature horses than their full-sized relatives. Overfeeding is a common problem in miniature horses, leading to obesity; this is especially true when owners are used to owning full-sized horses. Dental issues, including crowding, brachygnathism (overbites) and prognathism (underbites) are frequently seen, due to having the same number of teeth in a much smaller mouth. They can also experience retention of deciduous teeth (baby teeth) and sinus problems from overcrowding. The combination of a propensity for overeating and dental problems can lead to an increased occurrence of colic. A major metabolic problem seen more frequently in miniature horses is hyperlipemia, where an appetite-reducing stressor can cause the body to break down significant amounts of fat, overwhelming the liver and potentially leading to liver failure. Reproduction is also more difficult in miniature horses, with a higher incidence of difficult births and a greater potential for eclampsia. The majority of the health problems seen more frequently in miniature horses are easily rectified with proper feeding and maintenance.\n\nHistory\n\nMiniature horses were first developed in Europe in the 1600s, and by 1765 they were seen frequently as the pets of nobility. Others were used in coal mines in England and continental Europe. The English began using small ponies in their mines after the Mines and Collieries Act 1842 prohibited the use of young children as mine workers. Shetland ponies were most frequently seen, although any small, strong ponies that would fit in the small mine shafts were used as pit ponies. The first small horses in the United States date to 1861, when John Rarey imported four Shetland ponies, one of which was tall. Additional small British horses, as well as small Dutch mine horses, were brought to the US throughout the late 1800s. These small horses continued the work of their British relatives, being employed in the coal mines of the eastern and central US until the mid-1900s. In the 1960s, public appreciation for miniature horses began to grow, and they were increasingly used in a number of equestrian disciplines.\n\nThe Falabella was originally developed in Argentina in the mid-1800s by Patrick Newtall. When Newtall died, the herd and breeding methods were passed to Newtall's son-in-law, Juan Falabella. Juan added additional bloodlines including the Welsh Pony, Shetland pony, and small Thoroughbreds. With considerable inbreeding he was able to gain consistently small size within the herd.\n\nThe South African Miniature Horse was developed in South Africa and has a wide range of conformations represented in its population. Some resemble miniature Arabians, while others appear to be scaled-down versions of draft horses. Wynand de Wet was the first breeder of miniature horses in South Africa, beginning his program in 1945 in Lindley, South Africa. Other breeders soon followed, with many using Arabian horses in their breeding programs. In 1984, a breed registry was begun, and the national livestock association recognized the South African Miniature Horse as an independent breed in 1989. There are approximately 700 miniature horses registered in South Africa.\n\nUses\n\nThere are many horse show opportunities offered by registries and show sanctioning organizations worldwide. Many classes are offered, including halter (horse conformation), in-hand hunter and jumper, driving, liberty, costume, obstacle or trail classes, and showmanship. Miniature horses are also used as companion animals and pets for children, elderly people, and people who are blind or have other disabilities, as they are generally less intimidating and have lower maintenance costs than full-sized horses. While miniature horses can be trained to work indoors, they are still real horses and are healthier when allowed to live outdoors (with proper shelter and room to run) when not working with humans.\n\nControversies\n\nHorse or pony?\nThere is an ongoing debate over whether a miniature horse should possess horse or pony characteristics. This is a common controversy within the miniature horse world and also is a hot debate between mini aficionados and other horse and pony breed owners. While technically any member of Equus ferus caballus under is termed a \"pony,\" many breeds, including some miniature breeds, actually retain a horse phenotype and their breed registry therefore classifies them as horses.\n\nSome miniature horse breed standards prefer pony characteristics such as short, stout legs and elongated torsos, while others prefer ordinary horse proportions. Even the name is in dispute, terms such as \"Midget Pony\" and \"Pygmy Horse\" used in addition to \"Miniature horse\" and breed-specific names such as Falabella. The level of controversy is reflected by the presence of over 30 different registries for miniaturized horses or ponies just within the English-speaking world.\n\nDwarfism\n\nDwarfism is a concern within the miniature horse world. Dwarf horses, while often setting world records for size, are not considered to have desirable traits, generally have incorrect conformation, and may have significant health and soundness issues. Therefore, many miniature horse registries try to avoid accepting minis affected by dwarfism for breeding stock registration. In 2014, a commercial DNA test became available for one set of dwarfism mutations. The four mutations of the ACAN gene are known to cause dwarfism or aborted fetuses in miniature horses. The test does not detect the mutations that cause skeletal atavism in miniature horses and some ponies, or the osteochondrodysplasia dwarfism seen in some horse breeds.\n\nThe oldest living horse on record was a miniature horse affected by dwarfism named Angel who lived with the Horse Protection Society of North Carolina and lived to be over 50. The current record holder for the world's smallest horse is also a horse affected by dwarfism, Thumbelina, who is fully mature but stands tall and weighs .\n\nAssistance animals\n\nThere is controversy over whether miniature horses are suitable as assistance animals for persons with disabilities. Those who favor their use point out that horses live much longer than dogs and can be trained to perform similar tasks. Another plus is that some individuals, particularly from Muslim cultures, consider dogs unclean, but accept horses.\n\nOpponents of their use raise concerns that miniature horses are prey animals, with a fight-or-flight instinct that may limit their usefulness, and for legal reasons. In the US, where they are legally classified as livestock and require outdoor stabling for good health, their use is limited to owners with access to a large yard in communities having tolerant land use regulations. In terms of practical considerations, they note that it is difficult for even a miniature horse to do things such as lie down in the seat of a taxicab or to stay in a hotel room for extended periods of time.\n\nSee also\n Miniature cattle\n Guide horse\n\nReferences\n\nFurther reading\n\nExternal links\n\nAmerican Miniature Horse Association\nAmerican Miniature Horse Registry\nAmerican Miniature Horse in France\nAssociation Française du Cheval Miniature\n\nHorse breeds\nTypes of horse" ]
[ "Joy Division", "Closer" ]
C_a5fc3bc92b8649a1a58167e416382127_0
What is closer
1
What is Joy Division's 'Closer'?
Joy Division
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off". CANNOTANSWER
the final two months of the tour. That March, the band recorded their second album, Closer
Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979. Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases. The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences. History Formation On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in." Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off. In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester. Early releases Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA. Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are". In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate". Unknown Pleasures and breakthrough Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases. Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year". Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats". Closer and health problems Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental. A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off." Curtis' suicide and aftermath Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy. The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned. The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have." Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play. New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound. Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997. Musical style Sound Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". Lyrics Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse. Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that". Live performances In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars". During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him". Influences Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar." Legacy Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s." Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame. The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis." Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division. Band members Ian Curtis – lead vocals, guitar, melodica (1976–1980) Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980) Peter Hook – bass, backing vocals, guitar (1976–1980) Terry Mason – drums (1976–1977) Tony Tabac – drums (1977) Steve Brotherdale – drums (1977) Stephen Morris – drums, percussion (1977–1980) Timeline Discography Unknown Pleasures (1979) Closer (1980) References Works cited Further reading External links 1976 establishments in England 1980 disestablishments in England English gothic rock groups English post-punk music groups English new wave musical groups Enigma Records artists Factory Records artists Music in Salford Musical groups disestablished in 1980 Musical groups established in 1976 Musical groups from Greater Manchester Musical quartets New Order (band) Qwest Records artists Virgin Records artists
true
[ "K2-146 b is a Neptune-like exoplanet discovered in 2018 that orbits a M-type star and is found in the constellation Cancer. It was discovered by the Kepler Space Telescope. It orbits around one low-mass star. It is also the only exoplanet to orbit around K2-146. Namely, it orbits closer to its sun than Mercury does, and that is being 97% closer to its sun than Earth is to ours, it orbits very rapidly and well inside what would be regarded as the 'habitable zone’.\n\nReferences \n\nExoplanets discovered by K2\nExoplanets discovered in 2018\nCancer (constellation)\nTransiting exoplanets", "One Day Closer is the ninth studio album (eleventh overall) released by the singer-songwriter Jonathan Edwards. It contains many ballads and love songs.\n\nTrack listing \n \"Everything Takes Time\" – 3:31 \n \"Following My Heart\" – 3:25 \n \"One Day Closer\" – 4:34 \n \"This Island Earth\" (Paul Cooper, Jonathan Edwards) – 3:18\n \"Our First Kiss\" – 3:04 \n \"I Don't Know What Love Is\" (Pierce Pettis, Jonathan Edwards) – 4:26\n \"Lovers Like You and Me\" – 4:07 \n \"Margaret\" (Frank Tedesso, Jonathan Edwards) – 5:22\n \"I Know You\" – 3:17 \n \"This Old Guitar\" – 4:04 \n \"Chesapeake\" – 5:25 \n \"Sticks and Stones\" – 4:00\n\n1994 albums\nJonathan Edwards (musician) albums" ]
[ "Joy Division", "Closer", "What is closer", "the final two months of the tour. That March, the band recorded their second album, Closer" ]
C_a5fc3bc92b8649a1a58167e416382127_0
Are there any other interesting aspects about this article?
2
IN addition to Joy Division's 'Closer' album, are there any other interesting aspects about this article?
Joy Division
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off". CANNOTANSWER
A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.
Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979. Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases. The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences. History Formation On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in." Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off. In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester. Early releases Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA. Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are". In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate". Unknown Pleasures and breakthrough Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases. Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year". Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats". Closer and health problems Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental. A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off." Curtis' suicide and aftermath Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy. The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned. The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have." Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play. New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound. Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997. Musical style Sound Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". Lyrics Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse. Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that". Live performances In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars". During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him". Influences Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar." Legacy Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s." Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame. The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis." Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division. Band members Ian Curtis – lead vocals, guitar, melodica (1976–1980) Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980) Peter Hook – bass, backing vocals, guitar (1976–1980) Terry Mason – drums (1976–1977) Tony Tabac – drums (1977) Steve Brotherdale – drums (1977) Stephen Morris – drums, percussion (1977–1980) Timeline Discography Unknown Pleasures (1979) Closer (1980) References Works cited Further reading External links 1976 establishments in England 1980 disestablishments in England English gothic rock groups English post-punk music groups English new wave musical groups Enigma Records artists Factory Records artists Music in Salford Musical groups disestablished in 1980 Musical groups established in 1976 Musical groups from Greater Manchester Musical quartets New Order (band) Qwest Records artists Virgin Records artists
false
[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Joy Division", "Closer", "What is closer", "the final two months of the tour. That March, the band recorded their second album, Closer", "Are there any other interesting aspects about this article?", "A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable." ]
C_a5fc3bc92b8649a1a58167e416382127_0
What else happen with his sickness
3
In addition to Epilepsy and Seizures, what else happened with Joy Division's sickness?
Joy Division
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off". CANNOTANSWER
Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed.
Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979. Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases. The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences. History Formation On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in." Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off. In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester. Early releases Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA. Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are". In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate". Unknown Pleasures and breakthrough Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases. Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year". Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats". Closer and health problems Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental. A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off." Curtis' suicide and aftermath Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy. The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned. The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have." Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play. New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound. Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997. Musical style Sound Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". Lyrics Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse. Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that". Live performances In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars". During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him". Influences Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar." Legacy Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s." Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame. The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis." Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division. Band members Ian Curtis – lead vocals, guitar, melodica (1976–1980) Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980) Peter Hook – bass, backing vocals, guitar (1976–1980) Terry Mason – drums (1976–1977) Tony Tabac – drums (1977) Steve Brotherdale – drums (1977) Stephen Morris – drums, percussion (1977–1980) Timeline Discography Unknown Pleasures (1979) Closer (1980) References Works cited Further reading External links 1976 establishments in England 1980 disestablishments in England English gothic rock groups English post-punk music groups English new wave musical groups Enigma Records artists Factory Records artists Music in Salford Musical groups disestablished in 1980 Musical groups established in 1976 Musical groups from Greater Manchester Musical quartets New Order (band) Qwest Records artists Virgin Records artists
false
[ "Virtual reality sickness occurs when exposure to a virtual environment causes symptoms that are similar to motion sickness symptoms. The most common symptoms are general discomfort, headache, stomach awareness, nausea, vomiting, pallor, sweating, fatigue, drowsiness, disorientation, and apathy. Other symptoms include postural instability and retching. Virtual reality sickness is different from motion sickness in that it can be caused by the visually-induced perception of self-motion; real self-motion is not needed. It is also different from simulator sickness; non-virtual reality simulator sickness tends to be characterized by oculomotor disturbances, whereas virtual reality sickness tends to be characterized by disorientation.\n\nConsequences \nVirtual reality sickness may have undesirable consequences beyond the sickness itself. For example, Crowley (1987) argued that flight simulator sickness could discourage pilots from using flight simulators, reduce the efficiency of training through distraction and the encouragement of adaptive behaviors that are unfavorable for performance, compromise ground safety or flight safety when sick and disoriented pilots leave the simulator. Similar consequences could be expected for virtual reality systems. Although the evidence for performance decrements due to virtual reality sickness is limited, research does suggest that virtual reality sickness is a major barrier to using virtual reality, indicating that virtual reality sickness may be a barrier to the effective use of training tools and rehabilitation tools in virtual reality. Estimates of the multi-study incidence and main symptoms of virtual reality sickness (also called cybersickness) have been made.\n\nTheories \nCurrently, there are very few theories as to why virtual reality sickness in particular occurs; however, it is closely related to simulator and motion sickness. Sensory conflict theory provides a framework for understanding motion sickness; however, it can be applied to virtual reality sickness to better understand how it can occur, and is commonly used for that purpose. Sensory conflict theory posits that sickness will occur when a user's perception of self-motion is based on incongruent sensory inputs from the visual system, vestibular system, and non-vestibular proprioceptors, and particularly so when these inputs are at odds with the user's expectation based on prior experience. Applying this theory to virtual reality, sickness can be minimized when the sensory inputs inducing self-motion are in agreement with one another.\n\nThe physiology behind VR sickness is not currently clearly understood. Fortunately, research has uncovered some clear indications of certain conditions that cause VR sickness. It seems that the images projected from virtual reality have a major impact on sickness. The refresh rate of on-screen images is often not high enough when VR sickness occurs. Because the refresh rate is slower than what the brain processes, it causes a discord between the processing rate and the refresh rate, which causes the user to perceive glitches on the screen. When these two components do not match up, it can cause the user to experience the same feelings as simulator and motion sickness which is mentioned below.\n\nThe resolution on animation can also cause users to experience this phenomenon. When animations are poor, it causes another type of discord between what is expected and what is actually happening on the screen. When onscreen graphics do not keep the pace with the users' head movements, it can trigger a form of motion sickness.\n\nAnother trigger of virtual reality sickness is when there is disparity in apparent motion between the visual and vestibular stimuli. This disparity occurs if there is a disagreement between what the stimuli from the eyes and inner ear are sending to the brain. This is a fundamental cause of both simulator and motion sickness as well. In virtual reality, the eyes transmit that the person is running and jumping through a dimension, however, the ears transmit that no movement is occurring and that the body is sitting still. Since there is this discord between the eyes and the ears, a form of motion sickness can occur.\n\nNot all scientists agree with sensory conflict theory. A second theory of motion sickness, which has also been used to explain virtual reality sickness, is the theory of postural instability. This theory holds that motion sickness and related sicknesses occur because of poor postural adaptations in response to unusual coupling between visual stimuli and motor coordination. Characteristic markers of postural instability occur prior to appearance of symptoms and predict the later development of symptoms. This theory can explain some otherwise surprising situations in which motion sickness did not occur in the presence of sensory conflict.\n\nTechnical aspects \nThere are various technical aspects of virtual reality that can induce sickness, such as mismatched motion, field of view, motion parallax, and viewing angle. Additionally, the amount of time spent in virtual reality can increase the presence of symptoms.\nMismatched motion can be defined as a discrepancy between the motion of the simulation and the motion that the user expects. It is possible to induce motion sickness in virtual reality when the frequencies of mismatched motion are similar to those for motion sickness in reality, such as seasickness. These frequencies can be experimentally manipulated, but also have the propensity to arise from system errors.\nGenerally, increasing the field of view increases incidence of simulator sickness symptoms. This relationship has been shown to be curvilinear, with symptoms approaching an asymptote for fields of view above 140°.\nAltering motion parallax distances to those less than the distance between the human eyes in large multiple-screen simulation setups can induce oculomotor distress, such as headaches, eyestrain, and blurred vision. There are fewer reports of oculomotor distress on smaller screens; however, most simulation setups with motion parallax effects can still induce eyestrain, fatigue, and general discomfort over time.\nViewing angle has been shown to increase a user's sickness symptoms, especially at extreme angles. One example of such an extreme angle would be when a user must look downwards a short distance in front of their virtual feet. As opposed to a forward viewing angle, an extreme downward angle such as this has been shown to markedly increase sickness in virtual environments.\nTime spent immersed in a virtual environment contributes to sickness symptom presence due to the increasing effects of fatigue on the user. Oculomotor symptoms are the most common to occur due to immersion time, but the nature of the user's movements (e.g., whole-body vs. head-only) is suggested to be the primary cause of nausea or physical sickness.\n\nTechniques for reducing VR sickness \nAccording to several studies, introducing a static frame of reference (independent visual background) may reduce simulation sickness. A technique called Nasum Virtualis shows a virtual nose as a fixed frame of reference for VR headsets.\n\nOther techniques for reducing nausea involve simulating ways of displacement that don't create or reduce discrepancies between the visual aspects and body movement, such as reducing rotational motions during navigation, dynamically reducing the field of view, teleportation, and movement in zero gravity.\n\nIn January 2020, the French start-up Boarding Ring, known for their glasses against motion sickness, released an add-on device against virtual reality sickness. Using two small screens in the user's peripheral field of view, the device displays visual information consistent with vestibular inputs, avoiding the sensory conflict.\n\nGalvanic vestibular stimulation, which creates the illusion of motion by electric stimulation of the vestibular system, is another technique being explored for its potential to mitigate or eliminate the visual-vestibular mismatch.\n\nNewest technology \nWith the integration of virtual reality into the more commercial mainstream, issues have begun to arise in relation to VR sickness in head-mounted gaming devices. While research on head-mounted VR for gaming dates back to the early 1990s, the potential for mass usability has only become recently realized.\n\nWhile certain features are known to moderate VR sickness in head-mounted displays, such as playing from a seated position rather than standing, it has also been found that this merely puts off the onset of sickness, rather than completely preventing it. This inherently presents an issue, in that this type of interactive VR often involves standing or walking for a fully immersive experience. Gaming VR specialists argue that this unique brand of VR sickness is only a minor issue, claiming that it disappears with time spent (multiple days) using the head-mounted displays, relating it to \"getting your sea legs\". However, getting users interested in sickness for multiple days with the promise of \"probably getting over it\" is a struggle for developers of head-mounted gaming tech. Surveys have shown that a large percentage of people won't develop their \"VR legs,\" in particular women. These same developers also argue that it has more to do with the individual game being played, and that certain gaming aspects are more likely to create issues, such as change in speed, walking up stairs, and jumping, which are all, unfortunately, fairly normal game functions in predominant genres.\n\nIndividual differences in susceptibility \nIndividuals vary widely in their susceptibility to simulator and virtual reality sickness. Some of the factors in virtual reality sickness are listed below:\n Age: Susceptibility to motion sickness is highest between the ages of 2 and 12. It then decreases rapidly until about age 21, and continues to decrease more slowly after that. It has been suggested that virtual reality sickness might follow a similar pattern, but more recent research has suggested that adults over the age of 50 are more susceptible than younger adults to virtual reality sickness.\n Postural stability: Postural instability has been found to increase susceptibility to visually-induced motion sickness. It is also associated with increased susceptibility to nausea and disorientation symptoms of virtual reality sickness.\n Flicker fusion frequency threshold: Because flicker in the display has been associated with increased risk of virtual reality sickness, people with a low threshold for detecting flicker may be more susceptible to virtual reality sickness.\n Ethnicity: Asian people may be more susceptible to virtual reality sickness. Chinese women appear to be more susceptible to virtual reality sickness than European-American and African-American women; research suggests that they are more susceptible to vision-based motion sickness. Tibetans and Northeast Indians also appear to be more susceptible to motion sickness than Caucasian people, suggesting that they would also be more susceptible to virtual reality sickness, since susceptibility to motion sickness predicts susceptibility to a wide range of motion-sickness related disturbances.\n Experience with the system: Users seem to become less likely to develop virtual reality sickness as they develop familiarity with a virtual reality system. Adaptation may occur as quickly as the second exposure to the virtual reality system. \n Gender: Women are more susceptible than men to virtual reality sickness. This may be due to hormonal differences, it may be because women have a wider field of view than men, or gender differences in depth cue recognition. Women are most susceptible to virtual reality sickness during ovulation and a wider field of view is also associated with an increase in virtual reality sickness. In more recent research, there is some disagreement as to whether gender or sex is a clear factor in susceptibility to virtual reality sickness. \n Health: Susceptibility to virtual reality sickness appears to increase in people who are not at their usual level of health, suggesting that virtual reality may not be appropriate for people who are in ill health. This includes people who are fatigued; have not had enough sleep; are nauseated; or have an upper respiratory illness, ear trouble, or influenza.\n Mental rotation ability: Better mental rotation ability appears to reduce susceptibility to virtual reality sickness, suggesting that training users in mental rotation may reduce the incidence of virtual reality sickness. \n Field dependence/independence: Field dependence/independence is a measure of perceptual style. Those with strong field dependence exhibit a strong influence of surrounding environment on their perception of an object, whereas people with strong field independence show a smaller influence of surrounding environment on their perception of the object. While the relationship between field dependence/independence and virtual reality sickness is complex, it appears that, in general, people without a strong tendency towards one extreme or the other are most susceptible to virtual reality sickness.\n Motion sickness sensitivity: Those who are more sensitive to motion sickness in reality are also more sensitive to virtual reality sickness.\n\nReferences \n\nVirtual reality\nMotion sickness", "Byādhi (Pali; Sanskrit: vyādhi) is a Buddhist term that is commonly translated as sickness, illness, disease, etc., and is identified as an aspect of dukkha (suffering) within the teachings on the Four Noble Truths.\n\nWithin the Four Noble Truths\nWithin the teachings on the Four Noble Truths, byādhi is identified as an aspect of dukkha (suffering). For example, The Discourse That Sets Turning the Wheel of Truth states:\n Now this, bhikkhus, is the noble truth of suffering [dukkha]: birth is suffering, aging is suffering, illness (byādhi) is suffering, death is suffering; union with what is displeasing is suffering; separation from what is pleasing is suffering; not to get what one wants is suffering; in brief, the five aggregates subject to clinging are suffering.\n\nByādhi can refer to physical or psychological sickness. Chogyam Trunpa explains the suffering (dukkha) of sickness as follows:\n\nWhen you are sick, you feel physically dejected by life, with all sorts of complaints, aches, and pains. When you get attacked by sickness, you begin to feel the loss of the beautiful wings and nice feathers you used to have. Everything is disheveled. You can't even smile or laugh at your own jokes. You are completely demoralized and under attack.\n\nReferences\n\nWeb references\n\nSources\n\n \n \n \n \n \n \n \n \n \n \n\nBuddhist philosophical concepts" ]
[ "Joy Division", "Closer", "What is closer", "the final two months of the tour. That March, the band recorded their second album, Closer", "Are there any other interesting aspects about this article?", "A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.", "What else happen with his sickness", "Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed." ]
C_a5fc3bc92b8649a1a58167e416382127_0
How did the other members feel
4
How did the other members of the band feel about Joy Division?
Joy Division
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off". CANNOTANSWER
the band worried about their singer,
Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979. Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases. The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences. History Formation On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in." Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off. In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester. Early releases Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA. Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are". In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate". Unknown Pleasures and breakthrough Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases. Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year". Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats". Closer and health problems Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental. A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off." Curtis' suicide and aftermath Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy. The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned. The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have." Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play. New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound. Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997. Musical style Sound Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". Lyrics Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse. Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that". Live performances In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars". During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him". Influences Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar." Legacy Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s." Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame. The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis." Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division. Band members Ian Curtis – lead vocals, guitar, melodica (1976–1980) Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980) Peter Hook – bass, backing vocals, guitar (1976–1980) Terry Mason – drums (1976–1977) Tony Tabac – drums (1977) Steve Brotherdale – drums (1977) Stephen Morris – drums, percussion (1977–1980) Timeline Discography Unknown Pleasures (1979) Closer (1980) References Works cited Further reading External links 1976 establishments in England 1980 disestablishments in England English gothic rock groups English post-punk music groups English new wave musical groups Enigma Records artists Factory Records artists Music in Salford Musical groups disestablished in 1980 Musical groups established in 1976 Musical groups from Greater Manchester Musical quartets New Order (band) Qwest Records artists Virgin Records artists
false
[ "How Does It Feel may refer to:\n\nMusic\n\nAlbums\n How Does It Feel, a 1999 album by Nancy Sinatra\n How Does It Feel (MS MR album), a 2015 album by MS MR\n\nSongs\n \"How Does It Feel\" (Anita Baker song)\n \"How Does It Feel\" (Slade song)\n \"How Does It Feel (to be the mother of 1000 dead)?\", a controversial song by Crass\n \"How Does It Feel\", a song by Avril Lavigne from Under My Skin\n \"How Does It Feel\", a song by Candlebox from Into the Sun\n \"How Does It Feel\", a song by Keri Hilson from In a Perfect World...\n \"How Does It Feel\", a song by London Grammar from Californian Soil\n \"How Does It Feel\", a song by Men Without Hats from No Hats Beyond This Point\n \"How Does It Feel\", a song by M-22\n \"How Does It Feel?\", a song by Pharrell Williams from In My Mind\n \"How Does It Feel?\", a song by The Ronettes from Presenting the Fabulous Ronettes Featuring Veronica\n \"How Does It Feel\", a song by Toto from Isolation\n \"How Does It Feel\", a song by Westlife from Unbreakable – The Greatest Hits Vol. 1\n \"Untitled (How Does It Feel)\", a song by D'Angelo from Voodoo\n \"Like a Rolling Stone\", song by Bob Dylan from Highway 61 Revisited, best known for the line \"How does it feel?\"\n \"Blue Monday\" (New Order song), a song whose first line is \"How does it feel\"", "\"How I Feel\" is a song by American rapper Flo Rida. It samples the song \"Feeling Good\" by Nina Simone. The song peaked at number twenty-six on the ARIA and number fifty-five on the Canadian Hot 100.\n\nFlo Rida performed the song on the 13 episode of fifth season of The Voice with judge Christina Aguilera singing the chorus. This is the official theme song of the 27th Annual WWE Survivor Series The song was also used to promote the 13th season of American Idol.\n\nMusic video\nDirected by Shane Drake, the video features Flo Rida and his friends (dressed in Rat Pack-inspired wardrobe) going to Planet Hollywood Resort & Casino in Las Vegas. At some points, the action freezes and the camera zooms in on the action that happens in tableau. The video was uploaded on YouTube on November 14, 2013.\n\nTrack listing\n Digital download\n \"How I Feel\" – 2:49\n\nRemixes\n Digial Downloading\n \"How I Feel\" (SICK INDIVIDUALS Remix) - 3:24\n \"How I Feel\" (SCNDL Remix) - 3:20\n \"How I Feel\" (Special Future Remix) - 5:42\n \"How I Feel\" (Wolfpack Remix) - 5:24 \n \"How I Feel\" (Twenty1 Remix) - 3:21\n \"How I Feel\" (Bang La Decks Remix) - 5:00\n\nChart performance\n\nCertifications\n\nRelease history\n\nReferences\n\n2013 singles\nFlo Rida songs\nSong recordings produced by DJ Frank E\nMusic videos directed by Shane Drake\nSongs written by Flo Rida\n2013 songs" ]
[ "Joy Division", "Closer", "What is closer", "the final two months of the tour. That March, the band recorded their second album, Closer", "Are there any other interesting aspects about this article?", "A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable.", "What else happen with his sickness", "Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed.", "How did the other members feel", "the band worried about their singer," ]
C_a5fc3bc92b8649a1a58167e416382127_0
Did they go on tour
5
Did Joy Division and band go on tour?
Joy Division
Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental. A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off". CANNOTANSWER
Joy Division toured Continental Europe in January 1980.
Joy Division were an English rock band formed in Salford in 1976. The group consisted of vocalist Ian Curtis, guitarist/keyboardist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. Sumner and Hook formed the band after attending a Sex Pistols concert. While Joy Division's first recordings were heavily influenced by early punk, they soon developed a sparse sound and style that made them one of the pioneers of the post-punk movement. Their self-released 1978 debut EP An Ideal for Living drew the attention of the Manchester television personality Tony Wilson, who signed them to his independent label Factory Records. Their debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979. Curtis suffered from personal problems and health conditions, including a failing marriage, depression, and epilepsy. As the band's popularity grew, Curtis's condition made it increasingly difficult for him to perform; he occasionally experienced seizures on stage. He died by suicide on the eve of the band's first US/Canada tour in May 1980, aged 23. Joy Division's second and final album, Closer, was released two months later; it and the single "Love Will Tear Us Apart" became their highest charting releases. The remaining members regrouped under the name New Order. They were successful throughout the next decade, blending post-punk with electronic and dance music influences. History Formation On 4 June 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in." Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band The Panik. Brotherdale tried to get Curtis to leave the band and join The Panik, and even had Curtis audition. On 18 July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off. In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family. To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. On 14 December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester. Early releases Joy Division were approached by RCA Records to record a cover of Nolan "N.F." Porter's "Keep on Keepin' On" at a Manchester recording studio. The band spent late March and April 1978 writing and rehearsing material. During the Stiff/Chiswick Challenge concert at Manchester's Rafters club on 14 April, they caught the attention of music producer Tony Wilson and manager Rob Gretton. Curtis berated Wilson for not putting the group on his Granada Television show So It Goes; Wilson responded that Joy Division would be the next band he would showcase on TV. Gretton, the venue's resident DJ, was so impressed by the band's performance that he convinced them to take him on as their manager. Gretton, whose "dogged determination" was later credited for much of the band's public success, contributed the business skills to provide Joy Division with a better foundation for creativity. Joy Division spent the first week of May 1978 recording at Manchester's Arrow Studios. The band were unhappy with the Grapevine Records head John Anderson's insistence on adding synthesiser into the mix to soften the sound, and asked to be dropped from the contract with RCA. Joy Division made their recorded debut in June 1978 when the band self-released An Ideal for Living, and two weeks later their track "At a Later Date" was featured on the compilation album Short Circuit: Live at the Electric Circus (which had been recorded live in October 1977). In the Melody Maker review, Chris Brazier said that it "has the familiar rough-hewn nature of home-produced records, but they're no mere drone-vendors—there are a lot of good ideas here, and they could be a very interesting band by now, seven months on". The packaging of An Ideal for Living—which featured a drawing of a Hitler Youth member on the cover—coupled with the nature of the band's name fuelled speculation about their political affiliations. While Hook and Sumner later said they were intrigued by fascism at the time, Morris believed that the group's dalliance with Nazi imagery came from a desire to keep memories of the sacrifices of their parents and grandparents during World War II alive. He argued that accusations of neo-Nazi sympathies merely provoked the band "to keep on doing it, because that's the kind of people we are". In September 1978, Joy Division made their television debut performing "Shadowplay" on So It Goes, with an introduction by Wilson. In October, Joy Division contributed two tracks recorded with producer Martin Hannett to the compilation double-7" EP A Factory Sample, the first release by Tony Wilson's record label, Factory Records. In the NME review of the EP, Paul Morley praised the band as "the missing link" between Elvis Presley and Siouxsie and the Banshees. Joy Division joined Factory's roster, after buying themselves out of the RCA deal. Gretton was made a label partner to represent the interests of the band. On 27 December, during the drive home from gig at the Hope and Anchor in London, Curtis suffered his first recognised severe epileptic seizure and was hospitalised. Meanwhile, Joy Division's career progressed, and Curtis appeared on the 13 January 1979 cover of NME. That month the band recorded their session for BBC Radio 1 DJ John Peel. According to Deborah Curtis, "Sandwiched in between these two important landmarks was the realisation that Ian's illness was something we would have to learn to accommodate". Unknown Pleasures and breakthrough Joy Division's debut album, Unknown Pleasures, was recorded at Strawberry Studios, Stockport, in April 1979. Producer Martin Hannett significantly altered their live sound, a fact that greatly displeased the band at the time; however, in 2006, Hook said that in retrospect Hannett had done a good job and "created the Joy Division sound". The album cover was designed by Peter Saville, who went on to provide artwork for future Joy Division and New Order releases. Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. Wilson said the success turned the indie label into a true business and a "revolutionary force" that operated outside of the major record label system. Reviewing the album for Melody Maker, writer Jon Savage described the album as an "opaque manifesto" and declared it "one of the best, white, English, debut LPs of the year". Joy Division performed on Granada TV again in July 1979, and made their only nationwide TV appearance in September on BBC2's Something Else. They supported the Buzzcocks in a 24-venue UK tour that began that October, which allowed the band to quit their regular jobs. The non-album single "Transmission" was released in November. Joy Division's burgeoning success drew a devoted following who were stereotyped as "intense young men dressed in grey overcoats". Closer and health problems Joy Division toured Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental. A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed were part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April 1980, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis. Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off." Curtis' suicide and aftermath Joy Division were scheduled to commence their first US/Canada tour in May 1980. Curtis had expressed enthusiasm about the tour, but his relationship with his wife, Deborah, was under strain; Deborah was excluded from the band's inner circle, and Curtis was having an affair with Belgian journalist and music promoter Annik Honoré, whom he met on tour in Europe in 1979. He was also anxious about how American audiences would react to his epilepsy. The evening before the band were due to depart for America, Curtis returned to his Macclesfield home to talk to Deborah. He asked her to drop an impending divorce suit, and asked her to leave him alone in the house until he caught a train to Manchester the following morning. Early on 18 May 1980, having spent the night watching the Werner Herzog film Stroszek, Curtis hanged himself in his kitchen. Deborah discovered his body later that day when she returned. The suicide shocked the band and their management. In 2005, Wilson said: "I think all of us made the mistake of not thinking his suicide was going to happen ... We all completely underestimated the danger. We didn't take it seriously. That's how stupid we were." Music critic Simon Reynolds said Curtis's suicide "made for instant myth". Jon Savage's obituary said that "now no one will remember what his work with Joy Division was like when he was alive; it will be perceived as tragic rather than courageous". In June 1980, Joy Division's single "Love Will Tear Us Apart" was released, which hit number thirteen on the UK Singles Chart. In July 1980, Closer was released, and peaked at number six on the UK Albums Chart. NME reviewer Charles Shaar Murray wrote, "Closer is as magnificent a memorial (for 'Joy Division' as much as for Ian Curtis) as any post-Presley popular musician could have." Morris said that even without Curtis's death, it is unlikely that Joy Division would have endured. The members had made a pact long before Curtis's death that, should any member leave, the remaining members would change the band name. The band re-formed as New Order, with Sumner on vocals; they later recruited Morris's girlfriend Gillian Gilbert as keyboardist and second guitarist. Gilbert had befriended the band and played guitar at a Joy Division performance when Curtis had been unable to play. New Order's debut single, "Ceremony" (1981), was formed from the last two songs written with Curtis. New Order struggled in their early years to escape the shadow of Joy Division, but went on to achieve far greater commercial success with a different, more upbeat and dance-orientated sound. Various Joy Division outtakes and live material have been released. Still, featuring live tracks and rare recordings, was issued in 1981. Factory issued the Substance compilation in 1988, including several out-of-print singles. Permanent was released in 1995 by London Records, which had acquired the Joy Division catalogue after Factory's 1992 bankruptcy. A comprehensive box set, Heart and Soul, appeared in 1997. Musical style Sound Joy Division took time to develop their style and quickly evolved from their punk roots. Their sound during their early inception as Warsaw was described as fairly generic and "undistinguished punk-inflected hard-rock". Critic Simon Reynolds observed how the band's originality only "really became apparent as the songs got slower", and their music took on a "sparse" quality. According to Reynolds, "Hook's bass carried the melody, Bernard Sumner's guitar left gaps rather than filling up the group's sound with dense riffage and Steve Morris' drums seemed to circle the rim of a crater." According to music critic Jon Savage, "Joy Division were not punk but they were directly inspired by its energy". In 1994 Sumner said the band's characteristic sound "came out naturally: I'm more rhythm and chords, and Hooky was melody. He used to play high lead bass because I liked my guitar to sound distorted, and the amplifier I had would only work when it was at full volume. When Hooky played low, he couldn't hear himself. Steve has his own style which is different to other drummers. To me, a drummer in the band is the clock, but Steve wouldn't be the clock, because he's passive: he would follow the rhythm of the band, which gave us our own edge." By Closer, Curtis had adapted a low baritone voice, drawing comparisons to Jim Morrison of the Doors (one of Curtis's favourite bands). Sumner largely acted as the band's director, a role he continued in New Order. While Sumner was the group's primary guitarist, Curtis played the instrument on a few recorded songs and during a few shows. Curtis hated playing guitar, but the band insisted he do so. Sumner said, "He played in quite a bizarre way and that to us was interesting, because no one else would play like Ian". During the recording sessions for Closer, Sumner began using self-built synthesisers and Hook used a six-string bass for more melody. Producer Martin Hannett "dedicated himself to capturing and intensifying Joy Division's eerie spatiality". Hannett believed punk rock was sonically conservative because of its refusal to use studio technology to create sonic space. The producer instead aimed to create a more expansive sound on the group's records. Hannett said, "[Joy Division] were a gift to a producer, because they didn't have a clue. They didn't argue". Hannett demanded clean and clear "sound separation" not only for individual instruments, but even for individual pieces of Morris's drumkit. Morris recalled, "Typically on tracks he considered to be potential singles, he'd get me to play each drum on its own to avoid any bleed-through of sound". Music journalist Richard Cook noted that Hannett's role was "crucial". There are "devices of distance" in his production and "the sound is an illusion of physicality". Lyrics Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse. Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the lyrics...you'd find yourself thinking, 'Oh my God, I missed this one'. Because I'd look at Ian's lyrics and think how clever he was putting himself in the position of someone else. I never believed he was writing about himself. Looking back, how could I have been so bleedin' stupid? Of course he was writing about himself. But I didn't go in and grab him and ask, 'What's up?' I have to live with that". Live performances In contrast to the sound of their studio recordings, Joy Division typically played loudly and aggressively during live performances. The band were especially unhappy with Hannett's mix of Unknown Pleasures, which reduced the abrasiveness of their live sound for a more cerebral and ghostly sound. According to Sumner "the music was loud and heavy, and we felt that Martin had toned it down, especially with the guitars". During their live performances, the group did not interact with the audience; according to Paul Morley, "During a Joy Division set, outside of the songs, you'll be lucky to hear more than two or three words. Hello and goodbye. No introductions, no promotion." Curtis would often perform what became known as his "'dead fly' dance", as if imitating a seizure; his arms would "start flying in [a] semicircular, hypnotic curve". Simon Reynolds noted that Curtis's dancing style was reminiscent of an epileptic fit, and that he was dancing in the manner for some months before he was diagnosed with epilepsy. Live performances became problematic for Joy Division, due to Curtis's condition. Sumner later said, "We didn't have flashing lights, but sometimes a particular drum beat would do something to him. He'd go off in a trance for a bit, then he'd lose it and have an epileptic fit. We'd have to stop the show and carry him off to the dressing room where he'd cry his eyes out because this appalling thing had just happened to him". Influences Sumner wrote that Curtis was inspired by artists such as the Doors, Iggy Pop, David Bowie, Kraftwerk, the Velvet Underground and Neu!. Hook has also related that Curtis was particularly influenced by Iggy Pop's stage persona. The group were inspired by Kraftwerk's "marriage between humans and machines", and the inventiveness of their electronic music. Joy Division played Trans-Europe Express through the PA before they went on stage, "to get a momentum". Bowie's "Berlin Trilogy" elaborated with Brian Eno, influenced them; the "cold austerity" of the synthesisers on the b-sides of Heroes and Low albums, was a "music looking at the future". Morris cited the "unique style" of Velvet Underground's Maureen Tucker and the motorik drum beats, from Neu! and Can. Morris also credited Siouxsie and the Banshees because their "first drummer Kenny Morris played mostly toms" and "the sound of cymbals was forbidden". Hook said that "Siouxsie and the Banshees were one of our big influences ... The way the guitarist and the drummer played was a really unusual way of playing". Hook drew inspiration from the style of bassist Jean-Jacques Burnel and his early material with the Stranglers; he also credited Carol Kaye and her musical basslines on early 1970s work of the Temptations. Sumner mentioned "the raw, nasty, unpolished edge" in the guitars of the Rolling Stones, the simple riff of "Vicious" on Lou Reed's Transformer, and Neil Young. His musical horizon went up a notch with Jimi Hendrix, he realised "it wasn't about little catchy tunes ... it was what you could do sonically with a guitar." Legacy Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s." Joy Division have influenced bands including their contemporaries the Cure and U2, to later acts such as Bloc Party, Editors, Interpol, The Proclaimers, and Soundgarden. In 1980, U2 singer Bono said that Joy Division were "one of the most important bands of the last four or five years". Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005 both New Order and Joy Division were inducted into the UK Music Hall of Fame. The band's dark and gloomy sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis." Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film Festival, where it was critically well received. That year Grant Gee directed the band documentary Joy Division. Band members Ian Curtis – lead vocals, guitar, melodica (1976–1980) Bernard Sumner – lead guitar, keyboards, backing vocals, bass (1976–1980) Peter Hook – bass, backing vocals, guitar (1976–1980) Terry Mason – drums (1976–1977) Tony Tabac – drums (1977) Steve Brotherdale – drums (1977) Stephen Morris – drums, percussion (1977–1980) Timeline Discography Unknown Pleasures (1979) Closer (1980) References Works cited Further reading External links 1976 establishments in England 1980 disestablishments in England English gothic rock groups English post-punk music groups English new wave musical groups Enigma Records artists Factory Records artists Music in Salford Musical groups disestablished in 1980 Musical groups established in 1976 Musical groups from Greater Manchester Musical quartets New Order (band) Qwest Records artists Virgin Records artists
false
[ "Andrew Butterfield (born 7 January 1972) is an English professional golfer who plays on the Challenge Tour.\n\nCareer\nButterfield was born in London, England. He turned professional in 1993 and joined the Challenge Tour in 1996. He played on the Challenge Tour until qualifying for the European Tour through Q-School in 1999. Butterfield did not perform well enough on tour in 2000 to retain his card and had to go back to the Challenge Tour in 2001. He got his European Tour card back through Q-School again in 2001 and played on the European Tour in 2002 but did not find any success on tour. He returned to the Challenge Tour and played there until 2005 when he finished 4th on the Challenge Tour's Order of Merit which earned him his European Tour card for 2006. He did not play well enough in 2006 to retain his tour card but was able to get temporary status on tour for 2007 by finishing 129th on the Order of Merit. He played on the European Tour and the Challenge Tour in 2007 and has played only on the Challenge Tour since 2008. He picked up his first win on the Challenge Tour in Sweden at The Princess in June 2009. He also won an event on the PGA EuroPro Tour in 2004.\n\nProfessional wins (2)\n\nChallenge Tour wins (1)\n\nChallenge Tour playoff record (0–1)\n\nPGA EuroPro Tour wins (1)\n2004 Matchroom Golf Management International at Owston Hall\n\nPlayoff record\nEuropean Tour playoff record (0–1)\n\nResults in major championships\n\nNote: Butterfield only played in The Open Championship.\nCUT = missed the half-way cut\n\nSee also\n2005 Challenge Tour graduates\n2009 Challenge Tour graduates\n\nExternal links\n\nEnglish male golfers\nEuropean Tour golfers\nSportspeople from London\nPeople from the London Borough of Bromley\n1972 births\nLiving people", "The Bob Dylan England Tour 1965 was a concert tour by American singer-songwriter Bob Dylan during late April and early May 1965. The tour was widely documented by filmmaker D. A. Pennebaker, who used the footage of the tour in his documentary Dont Look Back.\n\nTour dates\n\nSet lists \nAs Dylan was still playing exclusively folk music live, much of the material performed during this tour was written pre-1965. Each show was divided into two halves, with seven songs performed during the first, and eight during the second. The set consisted of two songs from The Freewheelin' Bob Dylan, three from The Times They Are a-Changin', three from Another Side of Bob Dylan, a comic-relief concert staple; \"If You Gotta Go, Go Now\", issued as a single in Europe, and six songs off his then-recent album, Bringing It All Back Home, including the second side in its entirety.\n\n First half\n\"The Times They Are a-Changin'\"\n\"To Ramona\"\n\"Gates of Eden\"\n\"If You Gotta Go, Go Now (or Else You Got to Stay All Night)\"\n\"It's Alright, Ma (I'm Only Bleeding)\"\n\"Love Minus Zero/No Limit\"\n\"Mr. Tambourine Man\"\n\nSecond Half\n\"Talkin' World War III Blues\"\n\"Don't Think Twice, It's All Right\"\n\"With God on Our Side\"\n\"She Belongs to Me\"\n\"It Ain't Me Babe\"\n\"The Lonesome Death of Hattie Carroll\"\n\"All I Really Want to Do\"\n\"It's All Over Now, Baby Blue\"\n\nSet list per Olof Bjorner.\n\nAftermath \nJoan Baez accompanied him on the tour, but she was never invited to play with him in concert. In fact, they did not tour together again until 1975. After this tour, Dylan was hailed as a hero of folk music, but two months later, at the 1965 Newport Folk Festival, he would alienate his fans and go electric. Dylan was the only artist apart from the Beatles to sell out the De Montfort Hall in the 1960s. Even the Rolling Stones did not sell out this venue.\n\nReferences \n\nHoward Sounes: Down the Highway. The Life of Bob Dylan.. 2001.\n\nExternal links \n Bjorner's Still on the Road 1965: Tour dates & set lists\n\nBob Dylan concert tours\n1965 concert tours\nConcert tours of the United Kingdom\n1965 in England" ]
[ "Stan Laurel", "Personal life" ]
C_c23860af2294497ebab7a4d20dad0811_0
Are there any other interesting aspects about this article?
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Besides personal life, are there any other interesting aspects about this article on Stan Laurel?
Stan Laurel
Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the USA and sued the now successful Stan Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel had four wives and married one of them a second time after their divorce. Laurel married his first wife, Lois Neilson, on 13 August 1926. On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois. In May 1930, their second child, a son named Stanley, was born two months premature and died after nine days. Stan's daughter Lois died on 27 July 2017, aged 89. Laurel and Neilson divorced in December 1934. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, Laurel filed for divorce from Ruth, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), leading to an irate Ruth accusing Stan of bigamy, but their divorce had been finalised a couple of days before his new marriage. After a very volatile marriage to Illeana, during which Stan dug a grave with the intention of burying his wife in it, he and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940, in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers, with Laurel and Ruth divorcing for the second time in early 1946. On 6 May 1946, Laurel married Ida Kitaeva Raphael, to whom he remained married until his death on 23 February 1965. CANNOTANSWER
Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925,
Stan Laurel (born Arthur Stanley Jefferson; 16 June 1890 – 23 February 1965) was an English comic actor, writer, and film director who was part of the comedy duo Laurel and Hardy. He appeared with his comedy partner Oliver Hardy in 107 short films, feature films, and cameo roles. Laurel began his career in music hall, where he developed a number of his standard comic devices, including the bowler hat, the deep comic gravity, and the nonsensical understatement. His performances polished his skills at pantomime and music hall sketches. He was a member of "Fred Karno's Army", where he was Charlie Chaplin's understudy. He and Chaplin arrived in the United States on the same ship from the United Kingdom with the Karno troupe. Laurel began his film career in 1917 and made his final appearance in 1951. He appeared with his comic partner Oliver Hardy in the film short The Lucky Dog in 1921, although they did not become an official team until late 1927. He then appeared exclusively with Hardy until retiring following his comedy partner's death in 1957. In April 1961, on the 33rd Academy Awards, Laurel was given an Academy Honorary Award for his pioneering work in comedy, and he has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard. Laurel and Hardy were ranked top among best double acts and seventh overall in a 2005 UK poll to find the Comedians' Comedian. In 2019, Laurel topped a list of the greatest British comedians compiled by a panel on the television channel Gold. In 2009, a bronze statue of the duo was unveiled in Laurel's home town of Ulverston. Early life Arthur Stanley Jefferson was born in his grandparents' house on 16 June 1890 in Argyle Street, Ulverston, Lancashire, to Arthur J. Jefferson, an actor and theatre manager from Bishop Auckland, and Margaret (née Metcalfe), an actress from Ulverston. He was one of five children. One of them was Edward, an actor who would appear in four of Stan's shorts. His parents were both active in the theatre and always very busy. In his early years, Laurel spent much time living with his maternal grandmother, Sarah Metcalfe. He attended school at King James I Grammar School in Bishop Auckland, County Durham, and the King's School in Tynemouth, Northumberland. He moved with his parents to Glasgow, Scotland, where he completed his education at Rutherglen Academy. His father managed Glasgow's Metropole Theatre, where Laurel began work. His boyhood hero was Dan Leno, one of the greatest English music hall comedians. With a natural affinity for the theatre, Laurel gave his first professional performance on stage at the Panopticon in Glasgow at the age of sixteen, where he polished his skills at pantomime and music hall sketches. It was the music hall from where he drew his standard comic devices, including his bowler hat and nonsensical understatement. In 1912 Laurel worked together with Ted Desmond on tour in Netherlands and Belgium as a comedy double act known as the Barto Bros. Their act, which involved them dressing as Romans, finished when Laurel was offered a spot in an American touring troupe. After Laurel left England for America the pair maintained a life-long friendship, sending letters and photos that documented Laurel's rise from an unknown British comedy actor in 1913 to one of the biggest names in Hollywood in the 1950s. The correspondence, spanning around 50 years and including photos of them being reunited in the US, was put up for auction by Desmond's grandson Geoffrey Nolan in 2018. He joined Fred Karno's troupe of actors in 1910 with the stage name of "Stan Jefferson"; the troupe also included a young Charlie Chaplin. The music hall nurtured him, and he acted as Chaplin's understudy for some time. Karno was a pioneer of slapstick, and in his biography Laurel stated, "Fred Karno didn't teach Charlie [Chaplin] and me all we know about comedy. He just taught us most of it". Chaplin and Laurel arrived in the United States on the same ship from Britain with the Karno troupe and toured the country. During the First World War, Laurel registered for military service in America on 5 June 1917, as required under the Selective Service Act. He was not called up; his registration card states his status as resident alien and his deafness as exemptions. The Karno troupe broke up in the spring of 1914. Stan joined with two other former Karno performers, Edgar Hurley and his wife Ethel (known as "Wren") to form "The Three Comiques". On the advice of booking agent Gordon Bostock, they called themselves "the Keystone Trio". Stan started to do his character as an imitation of Charlie Chaplin, and the Hurleys began to do their parts as silent comedians Chester Conklin and Mabel Normand. They played successfully from February through October 1915, until the Hurleys and Stan parted ways. Between 1916 and 1918, he teamed up with Alice Cooke and Baldwin Cooke, who became his lifelong friends, to form the Stan Jefferson Trio. Amongst other performers, Laurel worked briefly alongside Oliver Hardy in the silent film short The Lucky Dog (1921), before the two were a team. It was around this time that Laurel met Mae Dahlberg. Around the same time, he adopted the stage name of Laurel at Dahlberg's suggestion that his stage name Stan Jefferson was unlucky, due to it having thirteen letters. The pair were performing together when Laurel was offered $75 a week to star in two-reel comedies. After making his first film Nuts in May, Universal offered him a contract. The contract was soon cancelled during a reorganisation at the studio. Among the films in which Dahlberg and Laurel appeared together was the 1922 parody Mud and Sand. By 1924, Laurel had given up the stage for full-time film work, under contract with Joe Rock for 12 two-reel comedies. The contract had one unusual stipulation: that Dahlberg was not to appear in any of the films. Rock thought that her temperament was hindering Laurel's career. In 1925, she started interfering with Laurel's work, so Rock offered her a cash settlement and a one-way ticket back to her native Australia, which she accepted. The 12 two-reel comedies were Mandarin Mix-Up (1924), Detained (1924), Monsieur Don't Care (1924), West of Hot Dog (1924), Somewhere in Wrong (1925), Twins (1925), Pie-Eyed (1925), The Snow Hawk (1925), Navy Blue Days (1925), The Sleuth (1925), Dr. Pyckle and Mr. Pryde (1925) and Half a Man (1925). Like his future mate, Hardy, Laurel was credited for directing or co-directing ten silent shorts (between 1925 and 1927). But, unlike Hardy, Laurel appeared in none of them. It was Hardy, however, who appeared in three of the shorts directed by Laurel, which are: Yes, Yes, Nanette! (1925), Wandering Papas (1926) and Madame Mystery (1926). Laurel and Hardy Laurel next signed with the Hal Roach studio, where he began directing films, including a 1926 production called Yes, Yes, Nanette (in which Oliver Hardy had a part under the name "Babe" Hardy). It had been his intention to work primarily as a writer and director. The same year, Hardy, a member of the Hal Roach Studios Comedy All Star players, was injured in a kitchen mishap and hospitalised. Because he was unable to work on the scheduled film, Get 'Em Young, Laurel was asked to return to acting to fill in. Starting early in 1927, Laurel and Hardy began sharing the screen in several short films, including Duck Soup, Slipping Wives and With Love and Hisses. The two became friends and their comic chemistry soon became obvious. Roach Studios' supervising director Leo McCarey noticed the audience reaction to them and began teaming them, leading to the creation of the Laurel and Hardy series later that year. Together, the two men began producing a huge body of short films, including The Battle of the Century, Should Married Men Go Home?, Two Tars, Be Big!, Big Business, and many others. Laurel and Hardy successfully made the transition to talking films with the short Unaccustomed As We Are in 1929. They also appeared in their first feature in one of the revue sequences of The Hollywood Revue of 1929, and the following year they appeared as the comic relief in the lavish all-colour (in Technicolor) musical feature The Rogue Song. Their first starring feature Pardon Us was released in 1931. They continued to make both features and shorts until 1935, including their 1932 three-reeler The Music Box, which won an Academy Award for Best Short Subject. Trouble at Roach Studio During the 1930s, Laurel was involved in a dispute with Hal Roach which resulted in the termination of his contract. Roach maintained separate contracts for Laurel and Hardy that expired at different times, so Hardy remained at the studio and was "teamed" with Harry Langdon for the 1939 film Zenobia. The studio discussed a series of films co-starring Hardy with Patsy Kelly to be called "The Hardy Family". But Laurel sued Roach over the contract dispute. Eventually, the case was dropped and Laurel returned to Roach. The first film that Laurel and Hardy made after Laurel returned was A Chump at Oxford. Subsequently, they made Saps at Sea, which was their last film for Roach. Second World War In 1941, Laurel and Hardy signed a contract at 20th Century-Fox to make ten films over five years. Laurel found, to his shock, that he and Hardy were hired only as actors, and were not expected to contribute to the staging, writing, or editing of the productions. When the films proved very successful, Laurel and Hardy were granted more freedom and gradually added more of their own material. They had made six Fox features when the studio suddenly abandoned B-picture production in December 1944. The team signed another contract with Metro-Goldwyn-Mayer in 1942, resulting in two more features. Revisiting his music hall days, Laurel returned to England in 1947 when he and Hardy went on a six-week tour of the United Kingdom performing in variety shows. Mobbed wherever they went, Laurel's homecoming to Ulverston took place in May, and the duo were greeted by thousands of fans outside the Coronation Hall. The Evening Mail noted: "Oliver Hardy remarked to our reporter that Stan had talked about Ulverston for the past 22 years and he thought he had to see it." The tour included a Royal Variety Performance in front of King George VI and his consort Queen Elizabeth in London. The success of the tour led them to spend the next seven years touring the UK and Europe. Around this time, Laurel found out that he had diabetes, so he encouraged Hardy to find solo projects, which he did, taking parts in John Wayne and Bing Crosby films. In 1950, Laurel and Hardy were invited to France to make a feature film. The film was a disaster, a Franco-Italian co-production titled Atoll K. (The film was entitled Utopia in the US and Robinson Crusoeland in the UK.) Both stars were noticeably ill during the filming. Upon returning to the United States, they spent most of their time recovering. In 1952, Laurel and Hardy toured Europe successfully, and they returned in 1953 for another tour of the continent. During this tour, Laurel fell ill and was unable to perform for several weeks. In May 1954, Hardy had a heart attack and cancelled the tour. In 1955, they were planning to do a television series called Laurel and Hardy's Fabulous Fables based on children's stories. The plans were delayed after Hardy suffered a stroke on 25 April 1955, from which he recovered. But as the team was planning to get back to work, Hardy had another stroke on 14 September 1956, and was unable to return to acting. Hardy's death Oliver Hardy died on 7 August 1957. People who knew Laurel said that he was absolutely devastated by Hardy's death and never fully recovered from it; his wife told the press that he became physically ill upon hearing that Hardy was dying. Laurel was in fact too ill to attend his funeral and said, "Babe would understand". Although he continued to socialize with his fans, he refused to perform on stage or act in another film from then on as he had no interest in working without Hardy, turning down every offer he was given for a public appearance. After Laurel and Hardy In 1961, Stan Laurel was given an Academy Honorary Award "for his creative pioneering in the field of cinema comedy". Laurel was introduced by Bob Hope, and the award was accepted by Danny Kaye. Laurel had achieved his lifelong dream as a comedian and had been involved in nearly 190 films. He lived his final years in a small flat in the Oceana Apartments in Santa Monica, California. Laurel was gracious to fans and spent much time answering fan mail. His phone number was also listed in the telephone directory and he would take calls from fans. Jerry Lewis was among the comedians to visit Laurel, and Lewis received suggestions from him for the production of The Bellboy (1960). Lewis paid tribute to Laurel by naming his main character Stanley in the film, and having Bill Richmond play a version of Laurel as well. Dick Van Dyke told a similar story. When he was just starting his career, he looked up Laurel's phone number, called him, and then visited him at his home. Van Dyke played Laurel on "The Sam Pomerantz Scandals" episode of The Dick Van Dyke Show. Laurel was offered a cameo role in It's a Mad, Mad, Mad, Mad World (1963), but declined. He reportedly said he did not want to be on screen in his old age, especially without Hardy. It appears, however, his involvement reached the stage of filming a background matching shot of his old time convertible, with a stand-in seated, at the wheel, donning a derby hat. The cameo appearance was then given to Jack Benny, who wore Laurel's signature derby in the scene. Personal life Laurel and Mae Dahlberg never married but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the US and suing Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel was one of several popular British actors in Hollywood who never became a naturalised US citizen. Laurel had four wives and married one of them a second time after their divorce. His first wife was Lois Neilson, whom he married on 13 August 1926. Together they had a daughter, Lois, who was born on . Their second child, Stanley, was born two months premature in May 1930, but died after nine days. Laurel and Neilson divorced in December 1934. Their daughter Lois died on aged 89. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, he filed for divorce, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), and Ruth accused him of bigamy, but their divorce had been finalised a couple of days before his new marriage. The new marriage was very volatile, and Illeana accused him of trying to bury her alive in the back yard of their San Fernando Valley home. He and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940 in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers; they were divorced for the second time in early 1946. On 6 May 1946, he married Ida Kitaeva Raphael to whom he remained married until his death. Death Laurel was a smoker until suddenly quitting around 1960. In January 1965, he underwent a series of x-rays for an infection on the roof of his mouth. He died on 23 February 1965, aged 74, four days after suffering a heart attack. Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. "I'm not," said Laurel, "I'd rather be doing that than this!" A few minutes later he died quietly in his armchair. At his funeral service at Church of the Hills, Buster Keaton said, "Chaplin wasn't the funniest. I wasn't the funniest; this man was the funniest." Dick Van Dyke gave the eulogy as a friend, protégé, and occasional impressionist of Laurel during his later years; he read The Clown's Prayer. Laurel had quipped, "If anyone at my funeral has a long face, I'll never speak to him again." He was interred in Forest Lawn–Hollywood Hills Cemetery. Legacy and honours Laurel and Hardy are featured on the cover of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. In 1989, a statue of Laurel was erected in Dockwray Square, North Shields, Tyne and Wear, England, where he lived at No. 8 from 1897 to 1902. The steps down from the Square to the North Shields Fish Quay were said to have inspired the piano-moving scene in The Music Box. In a 2005 UK poll, Comedians' Comedian, Laurel and Hardy were ranked top double act, and seventh overall. Along with Hardy, Laurel was inducted into the Grand Order of Water Rats. Neil Brand wrote a radio play entitled Stan, broadcast in 2004 on BBC Radio 4 and subsequently on BBC Radio 4 Extra, starring Tom Courtenay as Stan Laurel, in which Stan visits Oliver Hardy after Hardy has suffered his stroke and tries to say the things to his dying friend and partner that have been left unsaid. In 2006, BBC Four showed a drama called Stan, based on Brand's radio play, in which Laurel meets Hardy on his deathbed and reminisces about their career. A plaque on the Bull Inn, Bottesford, Leicestershire, England, marks Laurel and Hardy appearing in Nottingham over Christmas 1952, and staying with Laurel's sister, Olga, who was the landlady of the pub. In 2008, a statue of Stan Laurel was unveiled in Bishop Auckland, County Durham, on the site of the Eden Theatre. In April 2009, a bronze statue of Laurel and Hardy was unveiled in Ulverston. There is a Laurel and Hardy Museum in Stan's hometown of Ulverston. There are two Laurel and Hardy museums in Hardy's hometown of Harlem, Georgia. One is operated by the town of Harlem, and the other is a private museum owned and operated by Gary Russeth, a Harlem resident. Jefferson Drive in Ulverston is named after him. In 2013 Gail Louw and Jeffrey Holland debuted a short one-man play "...And this is my friend Mr Laurel" at the Camden Fringe festival. The play, starring Holland as Laurel, was taken on tour of the UK in 2014 until June 2015. In the 2018 film Stan & Ollie, Steve Coogan portrayed Laurel (a performance which saw him nominated for the BAFTA for Best Actor in a Leading Role) and John C. Reilly played Hardy. Developed by BBC Films, the film is set in the twilight of their careers, and focuses on their farewell tour of Britain and Ireland's variety halls in 1953. In 2019 Laurel was voted the greatest ever British comedian by a panel on the British television channel Gold. Filmography Stan Laurel filmography (films of Stan Laurel as an actor without Oliver Hardy) Laurel and Hardy filmography (filmography of Laurel and Hardy together) References Notes Citations Bibliography Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. . Bowers, Judith. Stan Laurel and Other Stars of the Panopticon: The Story of the Britannia Music Hall. Edinburgh: Birlinn Ltd, 2007. . Louvish, Simon. Stan and Ollie: The Roots of Comedy. London: Faber & Faber, 2001. . Marriot, A. J. Laurel & Hardy: The British Tours. Hitchen, Herts, UK: AJ Marriot, 1993. . Levy, Joe, ed. Rolling Stone's 500 Greatest Albums of All Time. New York: Wenner Books, 2005. . McCabe, John. Babe: The Life of Oliver Hardy. London: Robson Books Ltd., 2004. . McCabe, John. Comedy World of Stan Laurel. London: Robson Books, 2005, First edition 1975. . McCabe, John. Mr. Laurel & Mr. Hardy: An Affectionate Biography. London: Robson Books, 2004, First edition 1961, . Stone, Rob. Laurel or Hardy: The Solo Films of Stan Laurel and Oliver Hardy. Temecula, California: Split Reel Books, 1996 Okuda, Ted, and James L. Neibaur. Stan Without Ollie: The Stan Laurel Solo Films. Jefferson, NC: McFarland and Co., 2012 Guiles, Fred Lawrence. Stan: The Life of Stan Laurel. New York: Stein and Day., 1980 External links The Making of Stan Laurel: Echoes of a British Boyhood article at Brenton Film by Danny Lawrence, Stan Laurel's biographer The Stan Laurel Correspondence Archive Project English male comedians Comedians from Lancashire British male comedy actors English entertainers English male film actors English male silent film actors English male stage actors English stunt performers Music hall performers Silent film comedians Vaudeville performers 1890 births 1965 deaths Academy Honorary Award recipients Screen Actors Guild Life Achievement Award 20th Century Fox contract players Hal Roach Studios actors Metro-Goldwyn-Mayer contract players English emigrants to the United States British expatriate male actors in the United States People educated at The King's School, Tynemouth People educated at Stonelaw High School People from Ulverston Burials at Forest Lawn Memorial Park (Hollywood Hills) Articles containing video clips 19th-century English people 20th-century English male actors 20th-century English comedians Hal Roach Studios short film series People educated at Queen's Park Secondary School
false
[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Stan Laurel", "Personal life", "Are there any other interesting aspects about this article?", "Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925," ]
C_c23860af2294497ebab7a4d20dad0811_0
Did they have any children?
2
Did Stan Laurel and Mae Charlotte Dahlberg have any children?
Stan Laurel
Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the USA and sued the now successful Stan Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel had four wives and married one of them a second time after their divorce. Laurel married his first wife, Lois Neilson, on 13 August 1926. On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois. In May 1930, their second child, a son named Stanley, was born two months premature and died after nine days. Stan's daughter Lois died on 27 July 2017, aged 89. Laurel and Neilson divorced in December 1934. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, Laurel filed for divorce from Ruth, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), leading to an irate Ruth accusing Stan of bigamy, but their divorce had been finalised a couple of days before his new marriage. After a very volatile marriage to Illeana, during which Stan dug a grave with the intention of burying his wife in it, he and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940, in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers, with Laurel and Ruth divorcing for the second time in early 1946. On 6 May 1946, Laurel married Ida Kitaeva Raphael, to whom he remained married until his death on 23 February 1965. CANNOTANSWER
CANNOTANSWER
Stan Laurel (born Arthur Stanley Jefferson; 16 June 1890 – 23 February 1965) was an English comic actor, writer, and film director who was part of the comedy duo Laurel and Hardy. He appeared with his comedy partner Oliver Hardy in 107 short films, feature films, and cameo roles. Laurel began his career in music hall, where he developed a number of his standard comic devices, including the bowler hat, the deep comic gravity, and the nonsensical understatement. His performances polished his skills at pantomime and music hall sketches. He was a member of "Fred Karno's Army", where he was Charlie Chaplin's understudy. He and Chaplin arrived in the United States on the same ship from the United Kingdom with the Karno troupe. Laurel began his film career in 1917 and made his final appearance in 1951. He appeared with his comic partner Oliver Hardy in the film short The Lucky Dog in 1921, although they did not become an official team until late 1927. He then appeared exclusively with Hardy until retiring following his comedy partner's death in 1957. In April 1961, on the 33rd Academy Awards, Laurel was given an Academy Honorary Award for his pioneering work in comedy, and he has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard. Laurel and Hardy were ranked top among best double acts and seventh overall in a 2005 UK poll to find the Comedians' Comedian. In 2019, Laurel topped a list of the greatest British comedians compiled by a panel on the television channel Gold. In 2009, a bronze statue of the duo was unveiled in Laurel's home town of Ulverston. Early life Arthur Stanley Jefferson was born in his grandparents' house on 16 June 1890 in Argyle Street, Ulverston, Lancashire, to Arthur J. Jefferson, an actor and theatre manager from Bishop Auckland, and Margaret (née Metcalfe), an actress from Ulverston. He was one of five children. One of them was Edward, an actor who would appear in four of Stan's shorts. His parents were both active in the theatre and always very busy. In his early years, Laurel spent much time living with his maternal grandmother, Sarah Metcalfe. He attended school at King James I Grammar School in Bishop Auckland, County Durham, and the King's School in Tynemouth, Northumberland. He moved with his parents to Glasgow, Scotland, where he completed his education at Rutherglen Academy. His father managed Glasgow's Metropole Theatre, where Laurel began work. His boyhood hero was Dan Leno, one of the greatest English music hall comedians. With a natural affinity for the theatre, Laurel gave his first professional performance on stage at the Panopticon in Glasgow at the age of sixteen, where he polished his skills at pantomime and music hall sketches. It was the music hall from where he drew his standard comic devices, including his bowler hat and nonsensical understatement. In 1912 Laurel worked together with Ted Desmond on tour in Netherlands and Belgium as a comedy double act known as the Barto Bros. Their act, which involved them dressing as Romans, finished when Laurel was offered a spot in an American touring troupe. After Laurel left England for America the pair maintained a life-long friendship, sending letters and photos that documented Laurel's rise from an unknown British comedy actor in 1913 to one of the biggest names in Hollywood in the 1950s. The correspondence, spanning around 50 years and including photos of them being reunited in the US, was put up for auction by Desmond's grandson Geoffrey Nolan in 2018. He joined Fred Karno's troupe of actors in 1910 with the stage name of "Stan Jefferson"; the troupe also included a young Charlie Chaplin. The music hall nurtured him, and he acted as Chaplin's understudy for some time. Karno was a pioneer of slapstick, and in his biography Laurel stated, "Fred Karno didn't teach Charlie [Chaplin] and me all we know about comedy. He just taught us most of it". Chaplin and Laurel arrived in the United States on the same ship from Britain with the Karno troupe and toured the country. During the First World War, Laurel registered for military service in America on 5 June 1917, as required under the Selective Service Act. He was not called up; his registration card states his status as resident alien and his deafness as exemptions. The Karno troupe broke up in the spring of 1914. Stan joined with two other former Karno performers, Edgar Hurley and his wife Ethel (known as "Wren") to form "The Three Comiques". On the advice of booking agent Gordon Bostock, they called themselves "the Keystone Trio". Stan started to do his character as an imitation of Charlie Chaplin, and the Hurleys began to do their parts as silent comedians Chester Conklin and Mabel Normand. They played successfully from February through October 1915, until the Hurleys and Stan parted ways. Between 1916 and 1918, he teamed up with Alice Cooke and Baldwin Cooke, who became his lifelong friends, to form the Stan Jefferson Trio. Amongst other performers, Laurel worked briefly alongside Oliver Hardy in the silent film short The Lucky Dog (1921), before the two were a team. It was around this time that Laurel met Mae Dahlberg. Around the same time, he adopted the stage name of Laurel at Dahlberg's suggestion that his stage name Stan Jefferson was unlucky, due to it having thirteen letters. The pair were performing together when Laurel was offered $75 a week to star in two-reel comedies. After making his first film Nuts in May, Universal offered him a contract. The contract was soon cancelled during a reorganisation at the studio. Among the films in which Dahlberg and Laurel appeared together was the 1922 parody Mud and Sand. By 1924, Laurel had given up the stage for full-time film work, under contract with Joe Rock for 12 two-reel comedies. The contract had one unusual stipulation: that Dahlberg was not to appear in any of the films. Rock thought that her temperament was hindering Laurel's career. In 1925, she started interfering with Laurel's work, so Rock offered her a cash settlement and a one-way ticket back to her native Australia, which she accepted. The 12 two-reel comedies were Mandarin Mix-Up (1924), Detained (1924), Monsieur Don't Care (1924), West of Hot Dog (1924), Somewhere in Wrong (1925), Twins (1925), Pie-Eyed (1925), The Snow Hawk (1925), Navy Blue Days (1925), The Sleuth (1925), Dr. Pyckle and Mr. Pryde (1925) and Half a Man (1925). Like his future mate, Hardy, Laurel was credited for directing or co-directing ten silent shorts (between 1925 and 1927). But, unlike Hardy, Laurel appeared in none of them. It was Hardy, however, who appeared in three of the shorts directed by Laurel, which are: Yes, Yes, Nanette! (1925), Wandering Papas (1926) and Madame Mystery (1926). Laurel and Hardy Laurel next signed with the Hal Roach studio, where he began directing films, including a 1926 production called Yes, Yes, Nanette (in which Oliver Hardy had a part under the name "Babe" Hardy). It had been his intention to work primarily as a writer and director. The same year, Hardy, a member of the Hal Roach Studios Comedy All Star players, was injured in a kitchen mishap and hospitalised. Because he was unable to work on the scheduled film, Get 'Em Young, Laurel was asked to return to acting to fill in. Starting early in 1927, Laurel and Hardy began sharing the screen in several short films, including Duck Soup, Slipping Wives and With Love and Hisses. The two became friends and their comic chemistry soon became obvious. Roach Studios' supervising director Leo McCarey noticed the audience reaction to them and began teaming them, leading to the creation of the Laurel and Hardy series later that year. Together, the two men began producing a huge body of short films, including The Battle of the Century, Should Married Men Go Home?, Two Tars, Be Big!, Big Business, and many others. Laurel and Hardy successfully made the transition to talking films with the short Unaccustomed As We Are in 1929. They also appeared in their first feature in one of the revue sequences of The Hollywood Revue of 1929, and the following year they appeared as the comic relief in the lavish all-colour (in Technicolor) musical feature The Rogue Song. Their first starring feature Pardon Us was released in 1931. They continued to make both features and shorts until 1935, including their 1932 three-reeler The Music Box, which won an Academy Award for Best Short Subject. Trouble at Roach Studio During the 1930s, Laurel was involved in a dispute with Hal Roach which resulted in the termination of his contract. Roach maintained separate contracts for Laurel and Hardy that expired at different times, so Hardy remained at the studio and was "teamed" with Harry Langdon for the 1939 film Zenobia. The studio discussed a series of films co-starring Hardy with Patsy Kelly to be called "The Hardy Family". But Laurel sued Roach over the contract dispute. Eventually, the case was dropped and Laurel returned to Roach. The first film that Laurel and Hardy made after Laurel returned was A Chump at Oxford. Subsequently, they made Saps at Sea, which was their last film for Roach. Second World War In 1941, Laurel and Hardy signed a contract at 20th Century-Fox to make ten films over five years. Laurel found, to his shock, that he and Hardy were hired only as actors, and were not expected to contribute to the staging, writing, or editing of the productions. When the films proved very successful, Laurel and Hardy were granted more freedom and gradually added more of their own material. They had made six Fox features when the studio suddenly abandoned B-picture production in December 1944. The team signed another contract with Metro-Goldwyn-Mayer in 1942, resulting in two more features. Revisiting his music hall days, Laurel returned to England in 1947 when he and Hardy went on a six-week tour of the United Kingdom performing in variety shows. Mobbed wherever they went, Laurel's homecoming to Ulverston took place in May, and the duo were greeted by thousands of fans outside the Coronation Hall. The Evening Mail noted: "Oliver Hardy remarked to our reporter that Stan had talked about Ulverston for the past 22 years and he thought he had to see it." The tour included a Royal Variety Performance in front of King George VI and his consort Queen Elizabeth in London. The success of the tour led them to spend the next seven years touring the UK and Europe. Around this time, Laurel found out that he had diabetes, so he encouraged Hardy to find solo projects, which he did, taking parts in John Wayne and Bing Crosby films. In 1950, Laurel and Hardy were invited to France to make a feature film. The film was a disaster, a Franco-Italian co-production titled Atoll K. (The film was entitled Utopia in the US and Robinson Crusoeland in the UK.) Both stars were noticeably ill during the filming. Upon returning to the United States, they spent most of their time recovering. In 1952, Laurel and Hardy toured Europe successfully, and they returned in 1953 for another tour of the continent. During this tour, Laurel fell ill and was unable to perform for several weeks. In May 1954, Hardy had a heart attack and cancelled the tour. In 1955, they were planning to do a television series called Laurel and Hardy's Fabulous Fables based on children's stories. The plans were delayed after Hardy suffered a stroke on 25 April 1955, from which he recovered. But as the team was planning to get back to work, Hardy had another stroke on 14 September 1956, and was unable to return to acting. Hardy's death Oliver Hardy died on 7 August 1957. People who knew Laurel said that he was absolutely devastated by Hardy's death and never fully recovered from it; his wife told the press that he became physically ill upon hearing that Hardy was dying. Laurel was in fact too ill to attend his funeral and said, "Babe would understand". Although he continued to socialize with his fans, he refused to perform on stage or act in another film from then on as he had no interest in working without Hardy, turning down every offer he was given for a public appearance. After Laurel and Hardy In 1961, Stan Laurel was given an Academy Honorary Award "for his creative pioneering in the field of cinema comedy". Laurel was introduced by Bob Hope, and the award was accepted by Danny Kaye. Laurel had achieved his lifelong dream as a comedian and had been involved in nearly 190 films. He lived his final years in a small flat in the Oceana Apartments in Santa Monica, California. Laurel was gracious to fans and spent much time answering fan mail. His phone number was also listed in the telephone directory and he would take calls from fans. Jerry Lewis was among the comedians to visit Laurel, and Lewis received suggestions from him for the production of The Bellboy (1960). Lewis paid tribute to Laurel by naming his main character Stanley in the film, and having Bill Richmond play a version of Laurel as well. Dick Van Dyke told a similar story. When he was just starting his career, he looked up Laurel's phone number, called him, and then visited him at his home. Van Dyke played Laurel on "The Sam Pomerantz Scandals" episode of The Dick Van Dyke Show. Laurel was offered a cameo role in It's a Mad, Mad, Mad, Mad World (1963), but declined. He reportedly said he did not want to be on screen in his old age, especially without Hardy. It appears, however, his involvement reached the stage of filming a background matching shot of his old time convertible, with a stand-in seated, at the wheel, donning a derby hat. The cameo appearance was then given to Jack Benny, who wore Laurel's signature derby in the scene. Personal life Laurel and Mae Dahlberg never married but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the US and suing Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel was one of several popular British actors in Hollywood who never became a naturalised US citizen. Laurel had four wives and married one of them a second time after their divorce. His first wife was Lois Neilson, whom he married on 13 August 1926. Together they had a daughter, Lois, who was born on . Their second child, Stanley, was born two months premature in May 1930, but died after nine days. Laurel and Neilson divorced in December 1934. Their daughter Lois died on aged 89. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, he filed for divorce, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), and Ruth accused him of bigamy, but their divorce had been finalised a couple of days before his new marriage. The new marriage was very volatile, and Illeana accused him of trying to bury her alive in the back yard of their San Fernando Valley home. He and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940 in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers; they were divorced for the second time in early 1946. On 6 May 1946, he married Ida Kitaeva Raphael to whom he remained married until his death. Death Laurel was a smoker until suddenly quitting around 1960. In January 1965, he underwent a series of x-rays for an infection on the roof of his mouth. He died on 23 February 1965, aged 74, four days after suffering a heart attack. Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. "I'm not," said Laurel, "I'd rather be doing that than this!" A few minutes later he died quietly in his armchair. At his funeral service at Church of the Hills, Buster Keaton said, "Chaplin wasn't the funniest. I wasn't the funniest; this man was the funniest." Dick Van Dyke gave the eulogy as a friend, protégé, and occasional impressionist of Laurel during his later years; he read The Clown's Prayer. Laurel had quipped, "If anyone at my funeral has a long face, I'll never speak to him again." He was interred in Forest Lawn–Hollywood Hills Cemetery. Legacy and honours Laurel and Hardy are featured on the cover of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. In 1989, a statue of Laurel was erected in Dockwray Square, North Shields, Tyne and Wear, England, where he lived at No. 8 from 1897 to 1902. The steps down from the Square to the North Shields Fish Quay were said to have inspired the piano-moving scene in The Music Box. In a 2005 UK poll, Comedians' Comedian, Laurel and Hardy were ranked top double act, and seventh overall. Along with Hardy, Laurel was inducted into the Grand Order of Water Rats. Neil Brand wrote a radio play entitled Stan, broadcast in 2004 on BBC Radio 4 and subsequently on BBC Radio 4 Extra, starring Tom Courtenay as Stan Laurel, in which Stan visits Oliver Hardy after Hardy has suffered his stroke and tries to say the things to his dying friend and partner that have been left unsaid. In 2006, BBC Four showed a drama called Stan, based on Brand's radio play, in which Laurel meets Hardy on his deathbed and reminisces about their career. A plaque on the Bull Inn, Bottesford, Leicestershire, England, marks Laurel and Hardy appearing in Nottingham over Christmas 1952, and staying with Laurel's sister, Olga, who was the landlady of the pub. In 2008, a statue of Stan Laurel was unveiled in Bishop Auckland, County Durham, on the site of the Eden Theatre. In April 2009, a bronze statue of Laurel and Hardy was unveiled in Ulverston. There is a Laurel and Hardy Museum in Stan's hometown of Ulverston. There are two Laurel and Hardy museums in Hardy's hometown of Harlem, Georgia. One is operated by the town of Harlem, and the other is a private museum owned and operated by Gary Russeth, a Harlem resident. Jefferson Drive in Ulverston is named after him. In 2013 Gail Louw and Jeffrey Holland debuted a short one-man play "...And this is my friend Mr Laurel" at the Camden Fringe festival. The play, starring Holland as Laurel, was taken on tour of the UK in 2014 until June 2015. In the 2018 film Stan & Ollie, Steve Coogan portrayed Laurel (a performance which saw him nominated for the BAFTA for Best Actor in a Leading Role) and John C. Reilly played Hardy. Developed by BBC Films, the film is set in the twilight of their careers, and focuses on their farewell tour of Britain and Ireland's variety halls in 1953. In 2019 Laurel was voted the greatest ever British comedian by a panel on the British television channel Gold. Filmography Stan Laurel filmography (films of Stan Laurel as an actor without Oliver Hardy) Laurel and Hardy filmography (filmography of Laurel and Hardy together) References Notes Citations Bibliography Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. . Bowers, Judith. Stan Laurel and Other Stars of the Panopticon: The Story of the Britannia Music Hall. Edinburgh: Birlinn Ltd, 2007. . Louvish, Simon. Stan and Ollie: The Roots of Comedy. London: Faber & Faber, 2001. . Marriot, A. J. Laurel & Hardy: The British Tours. Hitchen, Herts, UK: AJ Marriot, 1993. . Levy, Joe, ed. Rolling Stone's 500 Greatest Albums of All Time. New York: Wenner Books, 2005. . McCabe, John. Babe: The Life of Oliver Hardy. London: Robson Books Ltd., 2004. . McCabe, John. Comedy World of Stan Laurel. London: Robson Books, 2005, First edition 1975. . McCabe, John. Mr. Laurel & Mr. Hardy: An Affectionate Biography. London: Robson Books, 2004, First edition 1961, . Stone, Rob. Laurel or Hardy: The Solo Films of Stan Laurel and Oliver Hardy. Temecula, California: Split Reel Books, 1996 Okuda, Ted, and James L. Neibaur. Stan Without Ollie: The Stan Laurel Solo Films. Jefferson, NC: McFarland and Co., 2012 Guiles, Fred Lawrence. Stan: The Life of Stan Laurel. New York: Stein and Day., 1980 External links The Making of Stan Laurel: Echoes of a British Boyhood article at Brenton Film by Danny Lawrence, Stan Laurel's biographer The Stan Laurel Correspondence Archive Project English male comedians Comedians from Lancashire British male comedy actors English entertainers English male film actors English male silent film actors English male stage actors English stunt performers Music hall performers Silent film comedians Vaudeville performers 1890 births 1965 deaths Academy Honorary Award recipients Screen Actors Guild Life Achievement Award 20th Century Fox contract players Hal Roach Studios actors Metro-Goldwyn-Mayer contract players English emigrants to the United States British expatriate male actors in the United States People educated at The King's School, Tynemouth People educated at Stonelaw High School People from Ulverston Burials at Forest Lawn Memorial Park (Hollywood Hills) Articles containing video clips 19th-century English people 20th-century English male actors 20th-century English comedians Hal Roach Studios short film series People educated at Queen's Park Secondary School
false
[ "Else Hansen (Cathrine Marie Mahs Hansen) also called de Hansen (1720 – 4 September 1784), was the royal mistress of king Frederick V of Denmark. She is his most famous mistress and known in history as Madam Hansen, and was, alongside Charlotte Amalie Winge, one of only two women known to have been long term lovers of the king.\n\nLife\n\nThe background of Else Hansen does not appear to be known. Tradition claims her to be the sister of Frederick's chamber servant Henrik Vilhelm Tillisch, who in 1743 reportedly smuggled in his sister to the king at night, but modern research does not support them to be the same person.\n\nRoyal mistress\nIt is not known exactly when and how Hansen became the lover of the king. Frederick V was known for his debauched life style. According to Dorothea Biehl, the king was known to participate in orgies or 'Bacchus parties', in which he drank alcohol with his male friends while watching female prostitutes stripped naked and danced, after which the king would sometime beat them with his stick and whip them after having been intoxicated by alcohol. These women where economically compensated, but none of them seem to have had any status of a long term mistress, nor did any of the noblewomen and maids-of-honors, which according to rumors where offered to the king by their families in hope of advantages but simply married of as soon as they became pregnant without any potential relationship having been anything but a secret. The relationship between the king and Else Hansen was therefore uncommon.\n\nElse Hansen gave birth to five children with the king between 1746 and 1751, which is why the affair is presumed to have started in 1746 at the latest and ended in 1751 at the earliest. At least her three younger children where all born at the manor Ulriksholm on Funen, a manor owned by Ulrik Frederik von Heinen, brother-in-law of the de facto ruler of Denmark, the kings favorite Adam Gottlob Moltke, who likely arranged the matter. The manor was named after the royal Ulrik Christian Gyldenlove, illegitimate son of a previous king. The king's children with Hansen where baptized in the local parish church near the manor, where they were officially listed as the legitimate children of the wife of a non existent man called \"Frederick Hansen, ship writer from Gothenburg to China\". The frequent trips to Ulriksholm by Hansen as soon as her pregnancies with the king became evident was publicly noted. Neither Else Hansen nor any other of the king's mistresses where ever any official mistress introduced at the royal court, nor did they have any influence upon state affairs whatever, as politics where entrusted by the king to his favorite Moltke.\n\nIn 1752, the relationship between the king and Hansen may have ended – in any case, it was not mentioned more or resulted in any more children. She settled in the property Kejrup near Ulriksholm with her children, officially with the status of \"widow of the late sea captain de Hansen\".\n\nLater life\nAfter the death of Frederick in 1766, she acquired the estate Klarskov on Funen. She sold Klarskov and moved to Odense in 1768. In 1771, however, she bought Klarskov a second time and continued to live there until her death.\n\nHer children were not officially recognized, but unofficially they were taken care of by the royal court: her daughters were given a dowry and married to royal officials and the sons careers where protected, and her grandchildren where also provided with an allowance from the royal house.\n\nAfter Hansen, the king did not have any long term mistress until Charlotte Amalie Winge (1762–66).\n\nLegacy\nAt Frederiksborgmuseet, there are three paintings of Hansen by Jens Thrane the younger from 1764. Hansen is known by Dorothea Biehl's depiction of the decadent court life of Frederick V.\n\nIssue \nHer children were officially listed with the father \"Frederick Hansen, sea captain\".\nFrederikke Margarethe de Hansen (1747–1802)\nFrederikke Catherine de Hansen (1748–1822)\nAnna Marie de Hansen (1749–1812)\nSophie Charlotte de Hansen (1750–1779)\nUlrik Frederik de Hansen (1751–1752)\n\nSources\n Charlotte Dorothea Biehl, Interiører fra Frederik V's Hof, udgivet af Louis Bobé.\n Aage Christens, Slægten de Hansen, 1968.\n\nReferences\n\n1720 births\n1784 deaths\nMistresses of Danish royalty\n18th-century Danish people\n18th-century Danish women landowners\n18th-century Danish landowners", "Maria Komnene (c. 1144 – 1190) was Queen of Hungary and Croatia from 1163 until 1165. Maria's father was Isaac Komnenos (son of John II).\n\nMarriage\nShe married c. 1157 to King Stephen IV of Hungary (c. 1133 – 11 April 1165). They did not have any children.\n\nSources \n Kristó Gyula - Makk Ferenc: Az Árpád-ház uralkodói (IPC Könyvek, 1996)\n Korai Magyar Történeti Lexikon (9-14. század), főszerkesztő: Kristó Gyula, szerkesztők: Engel Pál és Makk Ferenc (Akadémiai Kiadó, Budapest, 1994)\n\nHungarian queens consort\n1140s births\n1190 deaths\nMaria\n12th-century Byzantine women\n12th-century Hungarian women\n12th-century Byzantine people\n12th-century Hungarian people" ]
[ "Stan Laurel", "Personal life", "Are there any other interesting aspects about this article?", "Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925,", "Did they have any children?", "I don't know." ]
C_c23860af2294497ebab7a4d20dad0811_0
What happened to Laurel and Mae after 1925?
3
What happened to Stan Laurel and Mae Charlotte Dahlberg after 1925?
Stan Laurel
Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the USA and sued the now successful Stan Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel had four wives and married one of them a second time after their divorce. Laurel married his first wife, Lois Neilson, on 13 August 1926. On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois. In May 1930, their second child, a son named Stanley, was born two months premature and died after nine days. Stan's daughter Lois died on 27 July 2017, aged 89. Laurel and Neilson divorced in December 1934. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, Laurel filed for divorce from Ruth, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), leading to an irate Ruth accusing Stan of bigamy, but their divorce had been finalised a couple of days before his new marriage. After a very volatile marriage to Illeana, during which Stan dug a grave with the intention of burying his wife in it, he and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940, in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers, with Laurel and Ruth divorcing for the second time in early 1946. On 6 May 1946, Laurel married Ida Kitaeva Raphael, to whom he remained married until his death on 23 February 1965. CANNOTANSWER
Laurel had four wives and married one of them a second time after their divorce.
Stan Laurel (born Arthur Stanley Jefferson; 16 June 1890 – 23 February 1965) was an English comic actor, writer, and film director who was part of the comedy duo Laurel and Hardy. He appeared with his comedy partner Oliver Hardy in 107 short films, feature films, and cameo roles. Laurel began his career in music hall, where he developed a number of his standard comic devices, including the bowler hat, the deep comic gravity, and the nonsensical understatement. His performances polished his skills at pantomime and music hall sketches. He was a member of "Fred Karno's Army", where he was Charlie Chaplin's understudy. He and Chaplin arrived in the United States on the same ship from the United Kingdom with the Karno troupe. Laurel began his film career in 1917 and made his final appearance in 1951. He appeared with his comic partner Oliver Hardy in the film short The Lucky Dog in 1921, although they did not become an official team until late 1927. He then appeared exclusively with Hardy until retiring following his comedy partner's death in 1957. In April 1961, on the 33rd Academy Awards, Laurel was given an Academy Honorary Award for his pioneering work in comedy, and he has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard. Laurel and Hardy were ranked top among best double acts and seventh overall in a 2005 UK poll to find the Comedians' Comedian. In 2019, Laurel topped a list of the greatest British comedians compiled by a panel on the television channel Gold. In 2009, a bronze statue of the duo was unveiled in Laurel's home town of Ulverston. Early life Arthur Stanley Jefferson was born in his grandparents' house on 16 June 1890 in Argyle Street, Ulverston, Lancashire, to Arthur J. Jefferson, an actor and theatre manager from Bishop Auckland, and Margaret (née Metcalfe), an actress from Ulverston. He was one of five children. One of them was Edward, an actor who would appear in four of Stan's shorts. His parents were both active in the theatre and always very busy. In his early years, Laurel spent much time living with his maternal grandmother, Sarah Metcalfe. He attended school at King James I Grammar School in Bishop Auckland, County Durham, and the King's School in Tynemouth, Northumberland. He moved with his parents to Glasgow, Scotland, where he completed his education at Rutherglen Academy. His father managed Glasgow's Metropole Theatre, where Laurel began work. His boyhood hero was Dan Leno, one of the greatest English music hall comedians. With a natural affinity for the theatre, Laurel gave his first professional performance on stage at the Panopticon in Glasgow at the age of sixteen, where he polished his skills at pantomime and music hall sketches. It was the music hall from where he drew his standard comic devices, including his bowler hat and nonsensical understatement. In 1912 Laurel worked together with Ted Desmond on tour in Netherlands and Belgium as a comedy double act known as the Barto Bros. Their act, which involved them dressing as Romans, finished when Laurel was offered a spot in an American touring troupe. After Laurel left England for America the pair maintained a life-long friendship, sending letters and photos that documented Laurel's rise from an unknown British comedy actor in 1913 to one of the biggest names in Hollywood in the 1950s. The correspondence, spanning around 50 years and including photos of them being reunited in the US, was put up for auction by Desmond's grandson Geoffrey Nolan in 2018. He joined Fred Karno's troupe of actors in 1910 with the stage name of "Stan Jefferson"; the troupe also included a young Charlie Chaplin. The music hall nurtured him, and he acted as Chaplin's understudy for some time. Karno was a pioneer of slapstick, and in his biography Laurel stated, "Fred Karno didn't teach Charlie [Chaplin] and me all we know about comedy. He just taught us most of it". Chaplin and Laurel arrived in the United States on the same ship from Britain with the Karno troupe and toured the country. During the First World War, Laurel registered for military service in America on 5 June 1917, as required under the Selective Service Act. He was not called up; his registration card states his status as resident alien and his deafness as exemptions. The Karno troupe broke up in the spring of 1914. Stan joined with two other former Karno performers, Edgar Hurley and his wife Ethel (known as "Wren") to form "The Three Comiques". On the advice of booking agent Gordon Bostock, they called themselves "the Keystone Trio". Stan started to do his character as an imitation of Charlie Chaplin, and the Hurleys began to do their parts as silent comedians Chester Conklin and Mabel Normand. They played successfully from February through October 1915, until the Hurleys and Stan parted ways. Between 1916 and 1918, he teamed up with Alice Cooke and Baldwin Cooke, who became his lifelong friends, to form the Stan Jefferson Trio. Amongst other performers, Laurel worked briefly alongside Oliver Hardy in the silent film short The Lucky Dog (1921), before the two were a team. It was around this time that Laurel met Mae Dahlberg. Around the same time, he adopted the stage name of Laurel at Dahlberg's suggestion that his stage name Stan Jefferson was unlucky, due to it having thirteen letters. The pair were performing together when Laurel was offered $75 a week to star in two-reel comedies. After making his first film Nuts in May, Universal offered him a contract. The contract was soon cancelled during a reorganisation at the studio. Among the films in which Dahlberg and Laurel appeared together was the 1922 parody Mud and Sand. By 1924, Laurel had given up the stage for full-time film work, under contract with Joe Rock for 12 two-reel comedies. The contract had one unusual stipulation: that Dahlberg was not to appear in any of the films. Rock thought that her temperament was hindering Laurel's career. In 1925, she started interfering with Laurel's work, so Rock offered her a cash settlement and a one-way ticket back to her native Australia, which she accepted. The 12 two-reel comedies were Mandarin Mix-Up (1924), Detained (1924), Monsieur Don't Care (1924), West of Hot Dog (1924), Somewhere in Wrong (1925), Twins (1925), Pie-Eyed (1925), The Snow Hawk (1925), Navy Blue Days (1925), The Sleuth (1925), Dr. Pyckle and Mr. Pryde (1925) and Half a Man (1925). Like his future mate, Hardy, Laurel was credited for directing or co-directing ten silent shorts (between 1925 and 1927). But, unlike Hardy, Laurel appeared in none of them. It was Hardy, however, who appeared in three of the shorts directed by Laurel, which are: Yes, Yes, Nanette! (1925), Wandering Papas (1926) and Madame Mystery (1926). Laurel and Hardy Laurel next signed with the Hal Roach studio, where he began directing films, including a 1926 production called Yes, Yes, Nanette (in which Oliver Hardy had a part under the name "Babe" Hardy). It had been his intention to work primarily as a writer and director. The same year, Hardy, a member of the Hal Roach Studios Comedy All Star players, was injured in a kitchen mishap and hospitalised. Because he was unable to work on the scheduled film, Get 'Em Young, Laurel was asked to return to acting to fill in. Starting early in 1927, Laurel and Hardy began sharing the screen in several short films, including Duck Soup, Slipping Wives and With Love and Hisses. The two became friends and their comic chemistry soon became obvious. Roach Studios' supervising director Leo McCarey noticed the audience reaction to them and began teaming them, leading to the creation of the Laurel and Hardy series later that year. Together, the two men began producing a huge body of short films, including The Battle of the Century, Should Married Men Go Home?, Two Tars, Be Big!, Big Business, and many others. Laurel and Hardy successfully made the transition to talking films with the short Unaccustomed As We Are in 1929. They also appeared in their first feature in one of the revue sequences of The Hollywood Revue of 1929, and the following year they appeared as the comic relief in the lavish all-colour (in Technicolor) musical feature The Rogue Song. Their first starring feature Pardon Us was released in 1931. They continued to make both features and shorts until 1935, including their 1932 three-reeler The Music Box, which won an Academy Award for Best Short Subject. Trouble at Roach Studio During the 1930s, Laurel was involved in a dispute with Hal Roach which resulted in the termination of his contract. Roach maintained separate contracts for Laurel and Hardy that expired at different times, so Hardy remained at the studio and was "teamed" with Harry Langdon for the 1939 film Zenobia. The studio discussed a series of films co-starring Hardy with Patsy Kelly to be called "The Hardy Family". But Laurel sued Roach over the contract dispute. Eventually, the case was dropped and Laurel returned to Roach. The first film that Laurel and Hardy made after Laurel returned was A Chump at Oxford. Subsequently, they made Saps at Sea, which was their last film for Roach. Second World War In 1941, Laurel and Hardy signed a contract at 20th Century-Fox to make ten films over five years. Laurel found, to his shock, that he and Hardy were hired only as actors, and were not expected to contribute to the staging, writing, or editing of the productions. When the films proved very successful, Laurel and Hardy were granted more freedom and gradually added more of their own material. They had made six Fox features when the studio suddenly abandoned B-picture production in December 1944. The team signed another contract with Metro-Goldwyn-Mayer in 1942, resulting in two more features. Revisiting his music hall days, Laurel returned to England in 1947 when he and Hardy went on a six-week tour of the United Kingdom performing in variety shows. Mobbed wherever they went, Laurel's homecoming to Ulverston took place in May, and the duo were greeted by thousands of fans outside the Coronation Hall. The Evening Mail noted: "Oliver Hardy remarked to our reporter that Stan had talked about Ulverston for the past 22 years and he thought he had to see it." The tour included a Royal Variety Performance in front of King George VI and his consort Queen Elizabeth in London. The success of the tour led them to spend the next seven years touring the UK and Europe. Around this time, Laurel found out that he had diabetes, so he encouraged Hardy to find solo projects, which he did, taking parts in John Wayne and Bing Crosby films. In 1950, Laurel and Hardy were invited to France to make a feature film. The film was a disaster, a Franco-Italian co-production titled Atoll K. (The film was entitled Utopia in the US and Robinson Crusoeland in the UK.) Both stars were noticeably ill during the filming. Upon returning to the United States, they spent most of their time recovering. In 1952, Laurel and Hardy toured Europe successfully, and they returned in 1953 for another tour of the continent. During this tour, Laurel fell ill and was unable to perform for several weeks. In May 1954, Hardy had a heart attack and cancelled the tour. In 1955, they were planning to do a television series called Laurel and Hardy's Fabulous Fables based on children's stories. The plans were delayed after Hardy suffered a stroke on 25 April 1955, from which he recovered. But as the team was planning to get back to work, Hardy had another stroke on 14 September 1956, and was unable to return to acting. Hardy's death Oliver Hardy died on 7 August 1957. People who knew Laurel said that he was absolutely devastated by Hardy's death and never fully recovered from it; his wife told the press that he became physically ill upon hearing that Hardy was dying. Laurel was in fact too ill to attend his funeral and said, "Babe would understand". Although he continued to socialize with his fans, he refused to perform on stage or act in another film from then on as he had no interest in working without Hardy, turning down every offer he was given for a public appearance. After Laurel and Hardy In 1961, Stan Laurel was given an Academy Honorary Award "for his creative pioneering in the field of cinema comedy". Laurel was introduced by Bob Hope, and the award was accepted by Danny Kaye. Laurel had achieved his lifelong dream as a comedian and had been involved in nearly 190 films. He lived his final years in a small flat in the Oceana Apartments in Santa Monica, California. Laurel was gracious to fans and spent much time answering fan mail. His phone number was also listed in the telephone directory and he would take calls from fans. Jerry Lewis was among the comedians to visit Laurel, and Lewis received suggestions from him for the production of The Bellboy (1960). Lewis paid tribute to Laurel by naming his main character Stanley in the film, and having Bill Richmond play a version of Laurel as well. Dick Van Dyke told a similar story. When he was just starting his career, he looked up Laurel's phone number, called him, and then visited him at his home. Van Dyke played Laurel on "The Sam Pomerantz Scandals" episode of The Dick Van Dyke Show. Laurel was offered a cameo role in It's a Mad, Mad, Mad, Mad World (1963), but declined. He reportedly said he did not want to be on screen in his old age, especially without Hardy. It appears, however, his involvement reached the stage of filming a background matching shot of his old time convertible, with a stand-in seated, at the wheel, donning a derby hat. The cameo appearance was then given to Jack Benny, who wore Laurel's signature derby in the scene. Personal life Laurel and Mae Dahlberg never married but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the US and suing Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel was one of several popular British actors in Hollywood who never became a naturalised US citizen. Laurel had four wives and married one of them a second time after their divorce. His first wife was Lois Neilson, whom he married on 13 August 1926. Together they had a daughter, Lois, who was born on . Their second child, Stanley, was born two months premature in May 1930, but died after nine days. Laurel and Neilson divorced in December 1934. Their daughter Lois died on aged 89. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, he filed for divorce, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), and Ruth accused him of bigamy, but their divorce had been finalised a couple of days before his new marriage. The new marriage was very volatile, and Illeana accused him of trying to bury her alive in the back yard of their San Fernando Valley home. He and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940 in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers; they were divorced for the second time in early 1946. On 6 May 1946, he married Ida Kitaeva Raphael to whom he remained married until his death. Death Laurel was a smoker until suddenly quitting around 1960. In January 1965, he underwent a series of x-rays for an infection on the roof of his mouth. He died on 23 February 1965, aged 74, four days after suffering a heart attack. Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. "I'm not," said Laurel, "I'd rather be doing that than this!" A few minutes later he died quietly in his armchair. At his funeral service at Church of the Hills, Buster Keaton said, "Chaplin wasn't the funniest. I wasn't the funniest; this man was the funniest." Dick Van Dyke gave the eulogy as a friend, protégé, and occasional impressionist of Laurel during his later years; he read The Clown's Prayer. Laurel had quipped, "If anyone at my funeral has a long face, I'll never speak to him again." He was interred in Forest Lawn–Hollywood Hills Cemetery. Legacy and honours Laurel and Hardy are featured on the cover of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. In 1989, a statue of Laurel was erected in Dockwray Square, North Shields, Tyne and Wear, England, where he lived at No. 8 from 1897 to 1902. The steps down from the Square to the North Shields Fish Quay were said to have inspired the piano-moving scene in The Music Box. In a 2005 UK poll, Comedians' Comedian, Laurel and Hardy were ranked top double act, and seventh overall. Along with Hardy, Laurel was inducted into the Grand Order of Water Rats. Neil Brand wrote a radio play entitled Stan, broadcast in 2004 on BBC Radio 4 and subsequently on BBC Radio 4 Extra, starring Tom Courtenay as Stan Laurel, in which Stan visits Oliver Hardy after Hardy has suffered his stroke and tries to say the things to his dying friend and partner that have been left unsaid. In 2006, BBC Four showed a drama called Stan, based on Brand's radio play, in which Laurel meets Hardy on his deathbed and reminisces about their career. A plaque on the Bull Inn, Bottesford, Leicestershire, England, marks Laurel and Hardy appearing in Nottingham over Christmas 1952, and staying with Laurel's sister, Olga, who was the landlady of the pub. In 2008, a statue of Stan Laurel was unveiled in Bishop Auckland, County Durham, on the site of the Eden Theatre. In April 2009, a bronze statue of Laurel and Hardy was unveiled in Ulverston. There is a Laurel and Hardy Museum in Stan's hometown of Ulverston. There are two Laurel and Hardy museums in Hardy's hometown of Harlem, Georgia. One is operated by the town of Harlem, and the other is a private museum owned and operated by Gary Russeth, a Harlem resident. Jefferson Drive in Ulverston is named after him. In 2013 Gail Louw and Jeffrey Holland debuted a short one-man play "...And this is my friend Mr Laurel" at the Camden Fringe festival. The play, starring Holland as Laurel, was taken on tour of the UK in 2014 until June 2015. In the 2018 film Stan & Ollie, Steve Coogan portrayed Laurel (a performance which saw him nominated for the BAFTA for Best Actor in a Leading Role) and John C. Reilly played Hardy. Developed by BBC Films, the film is set in the twilight of their careers, and focuses on their farewell tour of Britain and Ireland's variety halls in 1953. In 2019 Laurel was voted the greatest ever British comedian by a panel on the British television channel Gold. Filmography Stan Laurel filmography (films of Stan Laurel as an actor without Oliver Hardy) Laurel and Hardy filmography (filmography of Laurel and Hardy together) References Notes Citations Bibliography Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. . Bowers, Judith. Stan Laurel and Other Stars of the Panopticon: The Story of the Britannia Music Hall. Edinburgh: Birlinn Ltd, 2007. . Louvish, Simon. Stan and Ollie: The Roots of Comedy. London: Faber & Faber, 2001. . Marriot, A. J. Laurel & Hardy: The British Tours. Hitchen, Herts, UK: AJ Marriot, 1993. . Levy, Joe, ed. Rolling Stone's 500 Greatest Albums of All Time. New York: Wenner Books, 2005. . McCabe, John. Babe: The Life of Oliver Hardy. London: Robson Books Ltd., 2004. . McCabe, John. Comedy World of Stan Laurel. London: Robson Books, 2005, First edition 1975. . McCabe, John. Mr. Laurel & Mr. Hardy: An Affectionate Biography. London: Robson Books, 2004, First edition 1961, . Stone, Rob. Laurel or Hardy: The Solo Films of Stan Laurel and Oliver Hardy. Temecula, California: Split Reel Books, 1996 Okuda, Ted, and James L. Neibaur. Stan Without Ollie: The Stan Laurel Solo Films. Jefferson, NC: McFarland and Co., 2012 Guiles, Fred Lawrence. Stan: The Life of Stan Laurel. New York: Stein and Day., 1980 External links The Making of Stan Laurel: Echoes of a British Boyhood article at Brenton Film by Danny Lawrence, Stan Laurel's biographer The Stan Laurel Correspondence Archive Project English male comedians Comedians from Lancashire British male comedy actors English entertainers English male film actors English male silent film actors English male stage actors English stunt performers Music hall performers Silent film comedians Vaudeville performers 1890 births 1965 deaths Academy Honorary Award recipients Screen Actors Guild Life Achievement Award 20th Century Fox contract players Hal Roach Studios actors Metro-Goldwyn-Mayer contract players English emigrants to the United States British expatriate male actors in the United States People educated at The King's School, Tynemouth People educated at Stonelaw High School People from Ulverston Burials at Forest Lawn Memorial Park (Hollywood Hills) Articles containing video clips 19th-century English people 20th-century English male actors 20th-century English comedians Hal Roach Studios short film series People educated at Queen's Park Secondary School
true
[ "Mae Dahlberg, sometimes known as Mae Laurel (24 May 1888, Brunswick, Melbourne, Victoria, Australia – 1969, New York, U.S.), was an Australian-born music hall and vaudeville performer and actress, later active in Hollywood silent films. She was Stan Laurel's professional partner and common-law wife from 1917 to 1925.\n\nChildhood and career in Australia\nShe was born May Charlotte Dahlberg on 24 May 1888 in the inner Melbourne suburb of Brunswick, Victoria, Australia, to Louis, a labourer, and Mary Jane (nee Gundry). By 1905 she had begun to earn a reputation performing as a singer and dancer on the Australian stage, with positive reviews. In 1906 she married baritone and fellow performer Rupert Cuthbert while in Hobart, Tasmania. A child, Rupert Clifton Saxe Cuthbert, was born of the union in 1908, in Melbourne.\n\nIn about 1913, Dahlberg and Cuthbert sailed for the United States.\n\nCareer in the U.S.\nDahlberg and Cuthbert's personal and professional relationship apparently did not last. While performing in a \"sister act\" in California, Dahlberg met and formed a variety act with Stan Laurel. In 1917 she played in a comedy short, Nuts in May, notable as the screen debut of Stan Laurel (credited as Stan Jefferson). Mae Dahlberg is credited as \"Mae Laurel\" in several of her films.\n\nThough Stan and Mae never married, as professional partners they lived together as common-law husband and wife from 1917 to 1925. Mae maintained that it was she who suggested Stan change his name to Laurel.\n\nBy 1924, Laurel had given up the stage for full-time film work under contract with Joe Rock for 12 two-reel comedies. The contract had one stipulation: Dahlberg was not to appear in any of the films. Rock thought her temperament was hindering Laurel's career. In 1925, when she started interfering with Laurel's work, Rock offered her a cash settlement and a one-way ticket back to her Australia, which she accepted. Her last film had been Wide Open Spaces, made for Hal Roach in 1924 with Laurel and fellow Australian Ena Gregory in the leading roles.\n\nDahlberg returned to the U.S. a few years later, and in November 1937, she sued the now successful Stan Laurel for financial support. The matter was settled out of court. She was described as a \"relief project worker\" by the court.\n\nAlthough Dahlberg appears to have lived in Melbourne again for some time during the 1940s, she returned to the United States again. She died in New York in 1969.\n\nFilmography \n Nuts in May (1917)\n Huns and Hyphens (1918)\n Bears and Bad Men (1918)\n Mud and Sand (1922)\n The Pest (1922)\n When Knights were Cold (1923)\n Under Two Jags (1923)\n Frozen Hearts (1923)\n The Soilers (1923)\n Mother's Joy (1923)\n Near Dublin (1924)\n Rupert of Hee Haw (1924)\n Wide Open Spaces (1924)\n\nReferences\n\nBibliography\n\n Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. .\n\nExternal links\n\n1888 births\n1969 deaths\nAmerican stage actresses\nAmerican film actresses\nAmerican silent film actresses\nSilent film comedians\nVaudeville performers\n20th-century American actresses\nActresses from Melbourne\n20th-century American comedians\nAustralian emigrants to the United States", "Love 'em and Weep is a silent comedy short film starring Mae Busch, Stan Laurel and James Finlayson.\n\nOpening Title \nAncient Proverb—Every married man should have his fling—But be careful not to get flung too far.\n\nPlot\nAn old flame (Mae Busch) of businessman Titus Tillsbury (James Finlayson) threatens to expose their past, destroying both his marriage and career. He sends his aide (Stan Laurel) to keep her away from a dinner party he and his wife are hosting that evening.\n\nCast\n\nProduction\nLove 'em and Weep was filmed in January 1927 and released June 12 of that year by Pathé Exchange.\n\nNotes\n Since Laurel and Hardy appear in the film, it is considered an early Laurel and Hardy film despite the fact that Hardy's role is a bit part and they barely share any scenes in the film.\n\n The film was the first in which English character actor Charlie Hall was to appear with Laurel and Hardy.\n\nRemake\nLove 'em and Weep was remade in 1931 as Chickens Come Home, with both Mae Busch and Stan Laurel reprising their roles. James Finlayson played the butler this time, replacing Charlie Hall, with Oliver Hardy taking on Finlayson's original role.\n\nReferences\n\nExternal links \n \n \n \n\n1927 films\n1927 comedy films\nAmerican films\nAmerican silent short films\nAmerican black-and-white films\nFilms directed by Fred Guiol\nLaurel and Hardy (film series)\nFilms with screenplays by H. M. Walker\n1927 short films\nComedy short films" ]
[ "Stan Laurel", "Personal life", "Are there any other interesting aspects about this article?", "Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925,", "Did they have any children?", "I don't know.", "What happened to Laurel and Mae after 1925?", "Laurel had four wives and married one of them a second time after their divorce." ]
C_c23860af2294497ebab7a4d20dad0811_0
Did Stan Laurel have any children at all?
4
Did Stan Laurel have any children at all?
Stan Laurel
Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the USA and sued the now successful Stan Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel had four wives and married one of them a second time after their divorce. Laurel married his first wife, Lois Neilson, on 13 August 1926. On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois. In May 1930, their second child, a son named Stanley, was born two months premature and died after nine days. Stan's daughter Lois died on 27 July 2017, aged 89. Laurel and Neilson divorced in December 1934. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, Laurel filed for divorce from Ruth, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), leading to an irate Ruth accusing Stan of bigamy, but their divorce had been finalised a couple of days before his new marriage. After a very volatile marriage to Illeana, during which Stan dug a grave with the intention of burying his wife in it, he and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940, in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers, with Laurel and Ruth divorcing for the second time in early 1946. On 6 May 1946, Laurel married Ida Kitaeva Raphael, to whom he remained married until his death on 23 February 1965. CANNOTANSWER
On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois.
Stan Laurel (born Arthur Stanley Jefferson; 16 June 1890 – 23 February 1965) was an English comic actor, writer, and film director who was part of the comedy duo Laurel and Hardy. He appeared with his comedy partner Oliver Hardy in 107 short films, feature films, and cameo roles. Laurel began his career in music hall, where he developed a number of his standard comic devices, including the bowler hat, the deep comic gravity, and the nonsensical understatement. His performances polished his skills at pantomime and music hall sketches. He was a member of "Fred Karno's Army", where he was Charlie Chaplin's understudy. He and Chaplin arrived in the United States on the same ship from the United Kingdom with the Karno troupe. Laurel began his film career in 1917 and made his final appearance in 1951. He appeared with his comic partner Oliver Hardy in the film short The Lucky Dog in 1921, although they did not become an official team until late 1927. He then appeared exclusively with Hardy until retiring following his comedy partner's death in 1957. In April 1961, on the 33rd Academy Awards, Laurel was given an Academy Honorary Award for his pioneering work in comedy, and he has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard. Laurel and Hardy were ranked top among best double acts and seventh overall in a 2005 UK poll to find the Comedians' Comedian. In 2019, Laurel topped a list of the greatest British comedians compiled by a panel on the television channel Gold. In 2009, a bronze statue of the duo was unveiled in Laurel's home town of Ulverston. Early life Arthur Stanley Jefferson was born in his grandparents' house on 16 June 1890 in Argyle Street, Ulverston, Lancashire, to Arthur J. Jefferson, an actor and theatre manager from Bishop Auckland, and Margaret (née Metcalfe), an actress from Ulverston. He was one of five children. One of them was Edward, an actor who would appear in four of Stan's shorts. His parents were both active in the theatre and always very busy. In his early years, Laurel spent much time living with his maternal grandmother, Sarah Metcalfe. He attended school at King James I Grammar School in Bishop Auckland, County Durham, and the King's School in Tynemouth, Northumberland. He moved with his parents to Glasgow, Scotland, where he completed his education at Rutherglen Academy. His father managed Glasgow's Metropole Theatre, where Laurel began work. His boyhood hero was Dan Leno, one of the greatest English music hall comedians. With a natural affinity for the theatre, Laurel gave his first professional performance on stage at the Panopticon in Glasgow at the age of sixteen, where he polished his skills at pantomime and music hall sketches. It was the music hall from where he drew his standard comic devices, including his bowler hat and nonsensical understatement. In 1912 Laurel worked together with Ted Desmond on tour in Netherlands and Belgium as a comedy double act known as the Barto Bros. Their act, which involved them dressing as Romans, finished when Laurel was offered a spot in an American touring troupe. After Laurel left England for America the pair maintained a life-long friendship, sending letters and photos that documented Laurel's rise from an unknown British comedy actor in 1913 to one of the biggest names in Hollywood in the 1950s. The correspondence, spanning around 50 years and including photos of them being reunited in the US, was put up for auction by Desmond's grandson Geoffrey Nolan in 2018. He joined Fred Karno's troupe of actors in 1910 with the stage name of "Stan Jefferson"; the troupe also included a young Charlie Chaplin. The music hall nurtured him, and he acted as Chaplin's understudy for some time. Karno was a pioneer of slapstick, and in his biography Laurel stated, "Fred Karno didn't teach Charlie [Chaplin] and me all we know about comedy. He just taught us most of it". Chaplin and Laurel arrived in the United States on the same ship from Britain with the Karno troupe and toured the country. During the First World War, Laurel registered for military service in America on 5 June 1917, as required under the Selective Service Act. He was not called up; his registration card states his status as resident alien and his deafness as exemptions. The Karno troupe broke up in the spring of 1914. Stan joined with two other former Karno performers, Edgar Hurley and his wife Ethel (known as "Wren") to form "The Three Comiques". On the advice of booking agent Gordon Bostock, they called themselves "the Keystone Trio". Stan started to do his character as an imitation of Charlie Chaplin, and the Hurleys began to do their parts as silent comedians Chester Conklin and Mabel Normand. They played successfully from February through October 1915, until the Hurleys and Stan parted ways. Between 1916 and 1918, he teamed up with Alice Cooke and Baldwin Cooke, who became his lifelong friends, to form the Stan Jefferson Trio. Amongst other performers, Laurel worked briefly alongside Oliver Hardy in the silent film short The Lucky Dog (1921), before the two were a team. It was around this time that Laurel met Mae Dahlberg. Around the same time, he adopted the stage name of Laurel at Dahlberg's suggestion that his stage name Stan Jefferson was unlucky, due to it having thirteen letters. The pair were performing together when Laurel was offered $75 a week to star in two-reel comedies. After making his first film Nuts in May, Universal offered him a contract. The contract was soon cancelled during a reorganisation at the studio. Among the films in which Dahlberg and Laurel appeared together was the 1922 parody Mud and Sand. By 1924, Laurel had given up the stage for full-time film work, under contract with Joe Rock for 12 two-reel comedies. The contract had one unusual stipulation: that Dahlberg was not to appear in any of the films. Rock thought that her temperament was hindering Laurel's career. In 1925, she started interfering with Laurel's work, so Rock offered her a cash settlement and a one-way ticket back to her native Australia, which she accepted. The 12 two-reel comedies were Mandarin Mix-Up (1924), Detained (1924), Monsieur Don't Care (1924), West of Hot Dog (1924), Somewhere in Wrong (1925), Twins (1925), Pie-Eyed (1925), The Snow Hawk (1925), Navy Blue Days (1925), The Sleuth (1925), Dr. Pyckle and Mr. Pryde (1925) and Half a Man (1925). Like his future mate, Hardy, Laurel was credited for directing or co-directing ten silent shorts (between 1925 and 1927). But, unlike Hardy, Laurel appeared in none of them. It was Hardy, however, who appeared in three of the shorts directed by Laurel, which are: Yes, Yes, Nanette! (1925), Wandering Papas (1926) and Madame Mystery (1926). Laurel and Hardy Laurel next signed with the Hal Roach studio, where he began directing films, including a 1926 production called Yes, Yes, Nanette (in which Oliver Hardy had a part under the name "Babe" Hardy). It had been his intention to work primarily as a writer and director. The same year, Hardy, a member of the Hal Roach Studios Comedy All Star players, was injured in a kitchen mishap and hospitalised. Because he was unable to work on the scheduled film, Get 'Em Young, Laurel was asked to return to acting to fill in. Starting early in 1927, Laurel and Hardy began sharing the screen in several short films, including Duck Soup, Slipping Wives and With Love and Hisses. The two became friends and their comic chemistry soon became obvious. Roach Studios' supervising director Leo McCarey noticed the audience reaction to them and began teaming them, leading to the creation of the Laurel and Hardy series later that year. Together, the two men began producing a huge body of short films, including The Battle of the Century, Should Married Men Go Home?, Two Tars, Be Big!, Big Business, and many others. Laurel and Hardy successfully made the transition to talking films with the short Unaccustomed As We Are in 1929. They also appeared in their first feature in one of the revue sequences of The Hollywood Revue of 1929, and the following year they appeared as the comic relief in the lavish all-colour (in Technicolor) musical feature The Rogue Song. Their first starring feature Pardon Us was released in 1931. They continued to make both features and shorts until 1935, including their 1932 three-reeler The Music Box, which won an Academy Award for Best Short Subject. Trouble at Roach Studio During the 1930s, Laurel was involved in a dispute with Hal Roach which resulted in the termination of his contract. Roach maintained separate contracts for Laurel and Hardy that expired at different times, so Hardy remained at the studio and was "teamed" with Harry Langdon for the 1939 film Zenobia. The studio discussed a series of films co-starring Hardy with Patsy Kelly to be called "The Hardy Family". But Laurel sued Roach over the contract dispute. Eventually, the case was dropped and Laurel returned to Roach. The first film that Laurel and Hardy made after Laurel returned was A Chump at Oxford. Subsequently, they made Saps at Sea, which was their last film for Roach. Second World War In 1941, Laurel and Hardy signed a contract at 20th Century-Fox to make ten films over five years. Laurel found, to his shock, that he and Hardy were hired only as actors, and were not expected to contribute to the staging, writing, or editing of the productions. When the films proved very successful, Laurel and Hardy were granted more freedom and gradually added more of their own material. They had made six Fox features when the studio suddenly abandoned B-picture production in December 1944. The team signed another contract with Metro-Goldwyn-Mayer in 1942, resulting in two more features. Revisiting his music hall days, Laurel returned to England in 1947 when he and Hardy went on a six-week tour of the United Kingdom performing in variety shows. Mobbed wherever they went, Laurel's homecoming to Ulverston took place in May, and the duo were greeted by thousands of fans outside the Coronation Hall. The Evening Mail noted: "Oliver Hardy remarked to our reporter that Stan had talked about Ulverston for the past 22 years and he thought he had to see it." The tour included a Royal Variety Performance in front of King George VI and his consort Queen Elizabeth in London. The success of the tour led them to spend the next seven years touring the UK and Europe. Around this time, Laurel found out that he had diabetes, so he encouraged Hardy to find solo projects, which he did, taking parts in John Wayne and Bing Crosby films. In 1950, Laurel and Hardy were invited to France to make a feature film. The film was a disaster, a Franco-Italian co-production titled Atoll K. (The film was entitled Utopia in the US and Robinson Crusoeland in the UK.) Both stars were noticeably ill during the filming. Upon returning to the United States, they spent most of their time recovering. In 1952, Laurel and Hardy toured Europe successfully, and they returned in 1953 for another tour of the continent. During this tour, Laurel fell ill and was unable to perform for several weeks. In May 1954, Hardy had a heart attack and cancelled the tour. In 1955, they were planning to do a television series called Laurel and Hardy's Fabulous Fables based on children's stories. The plans were delayed after Hardy suffered a stroke on 25 April 1955, from which he recovered. But as the team was planning to get back to work, Hardy had another stroke on 14 September 1956, and was unable to return to acting. Hardy's death Oliver Hardy died on 7 August 1957. People who knew Laurel said that he was absolutely devastated by Hardy's death and never fully recovered from it; his wife told the press that he became physically ill upon hearing that Hardy was dying. Laurel was in fact too ill to attend his funeral and said, "Babe would understand". Although he continued to socialize with his fans, he refused to perform on stage or act in another film from then on as he had no interest in working without Hardy, turning down every offer he was given for a public appearance. After Laurel and Hardy In 1961, Stan Laurel was given an Academy Honorary Award "for his creative pioneering in the field of cinema comedy". Laurel was introduced by Bob Hope, and the award was accepted by Danny Kaye. Laurel had achieved his lifelong dream as a comedian and had been involved in nearly 190 films. He lived his final years in a small flat in the Oceana Apartments in Santa Monica, California. Laurel was gracious to fans and spent much time answering fan mail. His phone number was also listed in the telephone directory and he would take calls from fans. Jerry Lewis was among the comedians to visit Laurel, and Lewis received suggestions from him for the production of The Bellboy (1960). Lewis paid tribute to Laurel by naming his main character Stanley in the film, and having Bill Richmond play a version of Laurel as well. Dick Van Dyke told a similar story. When he was just starting his career, he looked up Laurel's phone number, called him, and then visited him at his home. Van Dyke played Laurel on "The Sam Pomerantz Scandals" episode of The Dick Van Dyke Show. Laurel was offered a cameo role in It's a Mad, Mad, Mad, Mad World (1963), but declined. He reportedly said he did not want to be on screen in his old age, especially without Hardy. It appears, however, his involvement reached the stage of filming a background matching shot of his old time convertible, with a stand-in seated, at the wheel, donning a derby hat. The cameo appearance was then given to Jack Benny, who wore Laurel's signature derby in the scene. Personal life Laurel and Mae Dahlberg never married but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the US and suing Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel was one of several popular British actors in Hollywood who never became a naturalised US citizen. Laurel had four wives and married one of them a second time after their divorce. His first wife was Lois Neilson, whom he married on 13 August 1926. Together they had a daughter, Lois, who was born on . Their second child, Stanley, was born two months premature in May 1930, but died after nine days. Laurel and Neilson divorced in December 1934. Their daughter Lois died on aged 89. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, he filed for divorce, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), and Ruth accused him of bigamy, but their divorce had been finalised a couple of days before his new marriage. The new marriage was very volatile, and Illeana accused him of trying to bury her alive in the back yard of their San Fernando Valley home. He and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940 in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers; they were divorced for the second time in early 1946. On 6 May 1946, he married Ida Kitaeva Raphael to whom he remained married until his death. Death Laurel was a smoker until suddenly quitting around 1960. In January 1965, he underwent a series of x-rays for an infection on the roof of his mouth. He died on 23 February 1965, aged 74, four days after suffering a heart attack. Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. "I'm not," said Laurel, "I'd rather be doing that than this!" A few minutes later he died quietly in his armchair. At his funeral service at Church of the Hills, Buster Keaton said, "Chaplin wasn't the funniest. I wasn't the funniest; this man was the funniest." Dick Van Dyke gave the eulogy as a friend, protégé, and occasional impressionist of Laurel during his later years; he read The Clown's Prayer. Laurel had quipped, "If anyone at my funeral has a long face, I'll never speak to him again." He was interred in Forest Lawn–Hollywood Hills Cemetery. Legacy and honours Laurel and Hardy are featured on the cover of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. In 1989, a statue of Laurel was erected in Dockwray Square, North Shields, Tyne and Wear, England, where he lived at No. 8 from 1897 to 1902. The steps down from the Square to the North Shields Fish Quay were said to have inspired the piano-moving scene in The Music Box. In a 2005 UK poll, Comedians' Comedian, Laurel and Hardy were ranked top double act, and seventh overall. Along with Hardy, Laurel was inducted into the Grand Order of Water Rats. Neil Brand wrote a radio play entitled Stan, broadcast in 2004 on BBC Radio 4 and subsequently on BBC Radio 4 Extra, starring Tom Courtenay as Stan Laurel, in which Stan visits Oliver Hardy after Hardy has suffered his stroke and tries to say the things to his dying friend and partner that have been left unsaid. In 2006, BBC Four showed a drama called Stan, based on Brand's radio play, in which Laurel meets Hardy on his deathbed and reminisces about their career. A plaque on the Bull Inn, Bottesford, Leicestershire, England, marks Laurel and Hardy appearing in Nottingham over Christmas 1952, and staying with Laurel's sister, Olga, who was the landlady of the pub. In 2008, a statue of Stan Laurel was unveiled in Bishop Auckland, County Durham, on the site of the Eden Theatre. In April 2009, a bronze statue of Laurel and Hardy was unveiled in Ulverston. There is a Laurel and Hardy Museum in Stan's hometown of Ulverston. There are two Laurel and Hardy museums in Hardy's hometown of Harlem, Georgia. One is operated by the town of Harlem, and the other is a private museum owned and operated by Gary Russeth, a Harlem resident. Jefferson Drive in Ulverston is named after him. In 2013 Gail Louw and Jeffrey Holland debuted a short one-man play "...And this is my friend Mr Laurel" at the Camden Fringe festival. The play, starring Holland as Laurel, was taken on tour of the UK in 2014 until June 2015. In the 2018 film Stan & Ollie, Steve Coogan portrayed Laurel (a performance which saw him nominated for the BAFTA for Best Actor in a Leading Role) and John C. Reilly played Hardy. Developed by BBC Films, the film is set in the twilight of their careers, and focuses on their farewell tour of Britain and Ireland's variety halls in 1953. In 2019 Laurel was voted the greatest ever British comedian by a panel on the British television channel Gold. Filmography Stan Laurel filmography (films of Stan Laurel as an actor without Oliver Hardy) Laurel and Hardy filmography (filmography of Laurel and Hardy together) References Notes Citations Bibliography Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. . Bowers, Judith. Stan Laurel and Other Stars of the Panopticon: The Story of the Britannia Music Hall. Edinburgh: Birlinn Ltd, 2007. . Louvish, Simon. Stan and Ollie: The Roots of Comedy. London: Faber & Faber, 2001. . Marriot, A. J. Laurel & Hardy: The British Tours. Hitchen, Herts, UK: AJ Marriot, 1993. . Levy, Joe, ed. Rolling Stone's 500 Greatest Albums of All Time. New York: Wenner Books, 2005. . McCabe, John. Babe: The Life of Oliver Hardy. London: Robson Books Ltd., 2004. . McCabe, John. Comedy World of Stan Laurel. London: Robson Books, 2005, First edition 1975. . McCabe, John. Mr. Laurel & Mr. Hardy: An Affectionate Biography. London: Robson Books, 2004, First edition 1961, . Stone, Rob. Laurel or Hardy: The Solo Films of Stan Laurel and Oliver Hardy. Temecula, California: Split Reel Books, 1996 Okuda, Ted, and James L. Neibaur. Stan Without Ollie: The Stan Laurel Solo Films. Jefferson, NC: McFarland and Co., 2012 Guiles, Fred Lawrence. Stan: The Life of Stan Laurel. New York: Stein and Day., 1980 External links The Making of Stan Laurel: Echoes of a British Boyhood article at Brenton Film by Danny Lawrence, Stan Laurel's biographer The Stan Laurel Correspondence Archive Project English male comedians Comedians from Lancashire British male comedy actors English entertainers English male film actors English male silent film actors English male stage actors English stunt performers Music hall performers Silent film comedians Vaudeville performers 1890 births 1965 deaths Academy Honorary Award recipients Screen Actors Guild Life Achievement Award 20th Century Fox contract players Hal Roach Studios actors Metro-Goldwyn-Mayer contract players English emigrants to the United States British expatriate male actors in the United States People educated at The King's School, Tynemouth People educated at Stonelaw High School People from Ulverston Burials at Forest Lawn Memorial Park (Hollywood Hills) Articles containing video clips 19th-century English people 20th-century English male actors 20th-century English comedians Hal Roach Studios short film series People educated at Queen's Park Secondary School
false
[ "Great Guns is a 1941 film directed by Monty Banks, and produced by Sol M. Wurtzel for 20th Century Fox starring Laurel and Hardy. It is also known as Forward March.\n\nPlot\nThe young, spoiled but feeble Daniel Forrester IV (Dick Nelson), a very rich eligible bachelor, gets his draft notice from the US Army and is beside himself with joy, because now he has a chance to prove he does not have the weak constitution his aunts Martha (Mae Marsh) and Agatha (Ethel Griffies) believe him to have. Daniel performs well at his army physical and is enrolled in the army soon afterward.\n\nTo look after Daniel during his service, his chauffeur Ollie (Oliver Hardy) and gardener Stan (Stan Laurel) join the army at the same time. They all go to basic military training at legendary Fort Merritt in Texas. Daniel finds the army to his liking, performing excellently at the exercises, but Stan and Ollie are less happy with their new duties. Their drill sergeant, Hippo (Edmund MacDonald), considers Stan and Ollie to be lazy, and their antics drive the sergeant crazy. Stan's pet crow Penelope is a constant source of irritation to the sergeant. But what irritates Hippo most is that the fort's photo developer, Ginger Hammond (Sheila Ryan), takes a special interest in Daniel. The sergeant, who has tried to catch Ginger's heart himself for quite some time, becomes jealous of Daniel. Daniel confesses his love for her in his sleep, while Stan and Ollie listen in. They do not want Daniel to pursue Ginger, since they are not certain that his health will cope with the strain of a romantic involvement.\n\nStan and Ollie worry that a such relationship between the two will kill their employer, so posing as businessmen, they pay Ginger a visit at home and try to deflect her by telling her that Daniel is broke and not the catch she believes he is. She recognizes them and throws them out of her apartment. Hippo also tries to break up the loving couple by cancelling Daniel's night leave and making him a prisoner in the guard room instead.\n\nStan and Ollie get into trouble when they are captured by the opposing team in a military exercise. When Daniel hears about their unfortunate situation, he escapes his lock-up and uses Penelope to find Stan. Penelope helps find Stan, and the team that Stan and Ollie belong to win the maneuver. Daniel and his employees become heroes, and Daniel and Ginger become a couple. Penelope gets her own bird-size uniform and all the boys participate in a military parade together, while the aunts and Ginger watch.\n\nCast\n\nProduction notes\nThe first of Laurel and Hardy's post-Hal Roach features, Great Guns is generally regarded as the start of the team's decline, since they were given unsuitable, out-of-character scripts to work with, and very little artistic freedom. At Hal Roach Studios, Stan Laurel looked on such creativity behind as well as in front of the camera as routine, but 20th Century Fox did not allow such luxuries. Biographer John McCabe was among those who documented Laurel's unhappiness with these later films for Fox and MGM.\n\nAlan Ladd appears briefly as a photo store customer.\n\nReferences\n\nExternal links\n\n \n \n \n \n \n\n1941 films\n1941 comedy films\nAmerican films\nAmerican black-and-white films\n1940s English-language films\nFilms directed by Monty Banks\nLaurel and Hardy (film series)\nMilitary humor in film\n20th Century Fox films", "Stan Laurel (born Arthur Stanley Jefferson; 16 June 1890 – 23 February 1965) was an English comic actor, writer, and film director who was part of the comedy duo Laurel and Hardy. He appeared with his comedy partner Oliver Hardy in 107 short films, feature films, and cameo roles.\n\nLaurel began his career in music hall, where he developed a number of his standard comic devices, including the bowler hat, the deep comic gravity, and the nonsensical understatement. His performances polished his skills at pantomime and music hall sketches. He was a member of \"Fred Karno's Army\", where he was Charlie Chaplin's understudy. He and Chaplin arrived in the United States on the same ship from the United Kingdom with the Karno troupe. Laurel began his film career in 1917 and made his final appearance in 1951. He appeared with his comic partner Oliver Hardy in the film short The Lucky Dog in 1921, although they did not become an official team until late 1927. He then appeared exclusively with Hardy until retiring following his comedy partner's death in 1957.\n\nIn April 1961, on the 33rd Academy Awards, Laurel was given an Academy Honorary Award for his pioneering work in comedy, and he has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard. Laurel and Hardy were ranked top among best double acts and seventh overall in a 2005 UK poll to find the Comedians' Comedian. In 2019, Laurel topped a list of the greatest British comedians compiled by a panel on the television channel Gold. In 2009, a bronze statue of the duo was unveiled in Laurel's home town of Ulverston.\n\nEarly life\n\nArthur Stanley Jefferson was born in his grandparents' house on 16 June 1890 in Argyle Street, Ulverston, Lancashire, to Arthur J. Jefferson, an actor and theatre manager from Bishop Auckland, and Margaret (née Metcalfe), an actress from Ulverston. He was one of five children. One of them was Edward, an actor who would appear in four of Stan's shorts.\n\nHis parents were both active in the theatre and always very busy. In his early years, Laurel spent much time living with his maternal grandmother, Sarah Metcalfe. He attended school at King James I Grammar School in Bishop Auckland, County Durham, and the King's School in Tynemouth, Northumberland.\n\nHe moved with his parents to Glasgow, Scotland, where he completed his education at Rutherglen Academy. His father managed Glasgow's Metropole Theatre, where Laurel began work. His boyhood hero was Dan Leno, one of the greatest English music hall comedians. With a natural affinity for the theatre, Laurel gave his first professional performance on stage at the Panopticon in Glasgow at the age of sixteen, where he polished his skills at pantomime and music hall sketches. It was the music hall from where he drew his standard comic devices, including his bowler hat and nonsensical understatement.\n\nIn 1912 Laurel worked together with Ted Desmond on tour in Netherlands and Belgium as a comedy double act known as the Barto Bros. Their act, which involved them dressing as Romans, finished when Laurel was offered a spot in an American touring troupe. After Laurel left England for America the pair maintained a life-long friendship, sending letters and photos that documented Laurel's rise from an unknown British comedy actor in 1913 to one of the biggest names in Hollywood in the 1950s. The correspondence, spanning around 50 years and including photos of them being reunited in the US, was put up for auction by Desmond's grandson Geoffrey Nolan in 2018.\n\nHe joined Fred Karno's troupe of actors in 1910 with the stage name of \"Stan Jefferson\"; the troupe also included a young Charlie Chaplin. The music hall nurtured him, and he acted as Chaplin's understudy for some time. Karno was a pioneer of slapstick, and in his biography Laurel stated, \"Fred Karno didn't teach Charlie [Chaplin] and me all we know about comedy. He just taught us most of it\". Chaplin and Laurel arrived in the United States on the same ship from Britain with the Karno troupe and toured the country. During the First World War, Laurel registered for military service in America on 5 June 1917, as required under the Selective Service Act. He was not called up; his registration card states his status as resident alien and his deafness as exemptions. \n\nThe Karno troupe broke up in the spring of 1914. Stan joined with two other former Karno performers, Edgar Hurley and his wife Ethel (known as \"Wren\") to form \"The Three Comiques\". On the advice of booking agent Gordon Bostock, they called themselves \"the Keystone Trio\". Stan started to do his character as an imitation of Charlie Chaplin, and the Hurleys began to do their parts as silent comedians Chester Conklin and Mabel Normand. They played successfully from February through October 1915, until the Hurleys and Stan parted ways. Between 1916 and 1918, he teamed up with Alice Cooke and Baldwin Cooke, who became his lifelong friends, to form the Stan Jefferson Trio.\n\nAmongst other performers, Laurel worked briefly alongside Oliver Hardy in the silent film short The Lucky Dog (1921), before the two were a team. It was around this time that Laurel met Mae Dahlberg. Around the same time, he adopted the stage name of Laurel at Dahlberg's suggestion that his stage name Stan Jefferson was unlucky, due to it having thirteen letters. The pair were performing together when Laurel was offered $75 a week to star in two-reel comedies. After making his first film Nuts in May, Universal offered him a contract. The contract was soon cancelled during a reorganisation at the studio. Among the films in which Dahlberg and Laurel appeared together was the 1922 parody Mud and Sand.\n\nBy 1924, Laurel had given up the stage for full-time film work, under contract with Joe Rock for 12 two-reel comedies. The contract had one unusual stipulation: that Dahlberg was not to appear in any of the films. Rock thought that her temperament was hindering Laurel's career. In 1925, she started interfering with Laurel's work, so Rock offered her a cash settlement and a one-way ticket back to her native Australia, which she accepted. The 12 two-reel comedies were Mandarin Mix-Up (1924), Detained (1924), Monsieur Don't Care (1924), West of Hot Dog (1924), Somewhere in Wrong (1925), Twins (1925), Pie-Eyed (1925), The Snow Hawk (1925), Navy Blue Days (1925), The Sleuth (1925), Dr. Pyckle and Mr. Pryde (1925) and Half a Man (1925).\n\nLike his future mate, Hardy, Laurel was credited for directing or co-directing ten silent shorts (between 1925 and 1927). But, unlike Hardy, Laurel appeared in none of them. It was Hardy, however, who appeared in three of the shorts directed by Laurel, which are: Yes, Yes, Nanette! (1925), Wandering Papas (1926) and Madame Mystery (1926).\n\nLaurel and Hardy\n\nLaurel next signed with the Hal Roach studio, where he began directing films, including a 1926 production called Yes, Yes, Nanette (in which Oliver Hardy had a part under the name \"Babe\" Hardy). It had been his intention to work primarily as a writer and director.\n\nThe same year, Hardy, a member of the Hal Roach Studios Comedy All Star players, was injured in a kitchen mishap and hospitalised. Because he was unable to work on the scheduled film, Get 'Em Young, Laurel was asked to return to acting to fill in. Starting early in 1927, Laurel and Hardy began sharing the screen in several short films, including Duck Soup, Slipping Wives and With Love and Hisses. The two became friends and their comic chemistry soon became obvious. Roach Studios' supervising director Leo McCarey noticed the audience reaction to them and began teaming them, leading to the creation of the Laurel and Hardy series later that year.\n\nTogether, the two men began producing a huge body of short films, including The Battle of the Century, Should Married Men Go Home?, Two Tars, Be Big!, Big Business, and many others. Laurel and Hardy successfully made the transition to talking films with the short Unaccustomed As We Are in 1929. They also appeared in their first feature in one of the revue sequences of The Hollywood Revue of 1929, and the following year they appeared as the comic relief in the lavish all-colour (in Technicolor) musical feature The Rogue Song. Their first starring feature Pardon Us was released in 1931. They continued to make both features and shorts until 1935, including their 1932 three-reeler The Music Box, which won an Academy Award for Best Short Subject.\n\nTrouble at Roach Studio\nDuring the 1930s, Laurel was involved in a dispute with Hal Roach which resulted in the termination of his contract. Roach maintained separate contracts for Laurel and Hardy that expired at different times, so Hardy remained at the studio and was \"teamed\" with Harry Langdon for the 1939 film Zenobia. The studio discussed a series of films co-starring Hardy with Patsy Kelly to be called \"The Hardy Family\". But Laurel sued Roach over the contract dispute. Eventually, the case was dropped and Laurel returned to Roach. The first film that Laurel and Hardy made after Laurel returned was A Chump at Oxford. Subsequently, they made Saps at Sea, which was their last film for Roach.\n\nSecond World War\n\nIn 1941, Laurel and Hardy signed a contract at 20th Century-Fox to make ten films over five years. Laurel found, to his shock, that he and Hardy were hired only as actors, and were not expected to contribute to the staging, writing, or editing of the productions. When the films proved very successful, Laurel and Hardy were granted more freedom and gradually added more of their own material. They had made six Fox features when the studio suddenly abandoned B-picture production in December 1944. The team signed another contract with Metro-Goldwyn-Mayer in 1942, resulting in two more features.\n\nRevisiting his music hall days, Laurel returned to England in 1947 when he and Hardy went on a six-week tour of the United Kingdom performing in variety shows. Mobbed wherever they went, Laurel's homecoming to Ulverston took place in May, and the duo were greeted by thousands of fans outside the Coronation Hall. The Evening Mail noted: \"Oliver Hardy remarked to our reporter that Stan had talked about Ulverston for the past 22 years and he thought he had to see it.\" The tour included a Royal Variety Performance in front of King George VI and his consort Queen Elizabeth in London. The success of the tour led them to spend the next seven years touring the UK and Europe.\n\nAround this time, Laurel found out that he had diabetes, so he encouraged Hardy to find solo projects, which he did, taking parts in John Wayne and Bing Crosby films.\n\nIn 1950, Laurel and Hardy were invited to France to make a feature film. The film was a disaster, a Franco-Italian co-production titled Atoll K. (The film was entitled Utopia in the US and Robinson Crusoeland in the UK.) Both stars were noticeably ill during the filming. Upon returning to the United States, they spent most of their time recovering. In 1952, Laurel and Hardy toured Europe successfully, and they returned in 1953 for another tour of the continent. During this tour, Laurel fell ill and was unable to perform for several weeks.\n\nIn May 1954, Hardy had a heart attack and cancelled the tour. In 1955, they were planning to do a television series called Laurel and Hardy's Fabulous Fables based on children's stories. The plans were delayed after Hardy suffered a stroke on 25 April 1955, from which he recovered. But as the team was planning to get back to work, Hardy had another stroke on 14 September 1956, and was unable to return to acting.\n\nHardy's death\nOliver Hardy died on 7 August 1957. People who knew Laurel said that he was absolutely devastated by Hardy's death and never fully recovered from it; his wife told the press that he became physically ill upon hearing that Hardy was dying. Laurel was in fact too ill to attend his funeral and said, \"Babe would understand\". Although he continued to socialize with his fans, he refused to perform on stage or act in another film from then on as he had no interest in working without Hardy, turning down every offer he was given for a public appearance.\n\nAfter Laurel and Hardy\nIn 1961, Stan Laurel was given an Academy Honorary Award \"for his creative pioneering in the field of cinema comedy\". Laurel was introduced by Bob Hope, and the award was accepted by Danny Kaye. Laurel had achieved his lifelong dream as a comedian and had been involved in nearly 190 films. He lived his final years in a small flat in the Oceana Apartments in Santa Monica, California. Laurel was gracious to fans and spent much time answering fan mail. His phone number was also listed in the telephone directory and he would take calls from fans.\n\nJerry Lewis was among the comedians to visit Laurel, and Lewis received suggestions from him for the production of The Bellboy (1960). Lewis paid tribute to Laurel by naming his main character Stanley in the film, and having Bill Richmond play a version of Laurel as well. Dick Van Dyke told a similar story. When he was just starting his career, he looked up Laurel's phone number, called him, and then visited him at his home. Van Dyke played Laurel on \"The Sam Pomerantz Scandals\" episode of The Dick Van Dyke Show. Laurel was offered a cameo role in It's a Mad, Mad, Mad, Mad World (1963), but declined. He reportedly said he\ndid not want to be on screen in his old age, especially without Hardy. It appears, however, his involvement reached the stage of filming a background matching shot of his old time convertible, with a stand-in seated, at the wheel, donning a derby hat. The cameo appearance was then given to Jack Benny, who wore Laurel's signature derby in the scene.\n\nPersonal life\n\nLaurel and Mae Dahlberg never married but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the US and suing Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a \"relief project worker\" by the court. Laurel was one of several popular British actors in Hollywood who never became a naturalised US citizen.\n\nLaurel had four wives and married one of them a second time after their divorce. His first wife was Lois Neilson, whom he married on 13 August 1926. Together they had a daughter, Lois, who was born on . Their second child, Stanley, was born two months premature in May 1930, but died after nine days. Laurel and Neilson divorced in December 1934. Their daughter Lois died on aged 89.\n \nIn 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, he filed for divorce, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), and Ruth accused him of bigamy, but their divorce had been finalised a couple of days before his new marriage. The new marriage was very volatile, and Illeana accused him of trying to bury her alive in the back yard of their San Fernando Valley home. He and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940 in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers; they were divorced for the second time in early 1946. On 6 May 1946, he married Ida Kitaeva Raphael to whom he remained married until his death.\n\nDeath\n\nLaurel was a smoker until suddenly quitting around 1960. In January 1965, he underwent a series of x-rays for an infection on the roof of his mouth. He died on 23 February 1965, aged 74, four days after suffering a heart attack. Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. \"I'm not,\" said Laurel, \"I'd rather be doing that than this!\" A few minutes later he died quietly in his armchair.\n\nAt his funeral service at Church of the Hills, Buster Keaton said, \"Chaplin wasn't the funniest. I wasn't the funniest; this man was the funniest.\" Dick Van Dyke gave the eulogy as a friend, protégé, and occasional impressionist of Laurel during his later years; he read The Clown's Prayer. Laurel had quipped, \"If anyone at my funeral has a long face, I'll never speak to him again.\" He was interred in Forest Lawn–Hollywood Hills Cemetery.\n\nLegacy and honours\n\nLaurel and Hardy are featured on the cover of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. In 1989, a statue of Laurel was erected in Dockwray Square, North Shields, Tyne and Wear, England, where he lived at No. 8 from 1897 to 1902. The steps down from the Square to the North Shields Fish Quay were said to have inspired the piano-moving scene in The Music Box. In a 2005 UK poll, Comedians' Comedian, Laurel and Hardy were ranked top double act, and seventh overall. Along with Hardy, Laurel was inducted into the Grand Order of Water Rats.\n\nNeil Brand wrote a radio play entitled Stan, broadcast in 2004 on BBC Radio 4 and subsequently on BBC Radio 4 Extra, starring Tom Courtenay as Stan Laurel, in which Stan visits Oliver Hardy after Hardy has suffered his stroke and tries to say the things to his dying friend and partner that have been left unsaid. In 2006, BBC Four showed a drama called Stan, based on Brand's radio play, in which Laurel meets Hardy on his deathbed and reminisces about their career.\n\nA plaque on the Bull Inn, Bottesford, Leicestershire, England, marks Laurel and Hardy appearing in Nottingham over Christmas 1952, and staying with Laurel's sister, Olga, who was the landlady of the pub. In 2008, a statue of Stan Laurel was unveiled in Bishop Auckland, County Durham, on the site of the Eden Theatre. In April 2009, a bronze statue of Laurel and Hardy was unveiled in Ulverston.\n\nThere is a Laurel and Hardy Museum in Stan's hometown of Ulverston. There are two Laurel and Hardy museums in Hardy's hometown of Harlem, Georgia. One is operated by the town of Harlem, and the other is a private museum owned and operated by Gary Russeth, a Harlem resident. Jefferson Drive in Ulverston is named after him.\n\nIn 2013 Gail Louw and Jeffrey Holland debuted a short one-man play \"...And this is my friend Mr Laurel\" at the Camden Fringe festival. The play, starring Holland as Laurel, was taken on tour of the UK in 2014 until June 2015.\n\nIn the 2018 film Stan & Ollie, Steve Coogan portrayed Laurel (a performance which saw him nominated for the BAFTA for Best Actor in a Leading Role) and John C. Reilly played Hardy. Developed by BBC Films, the film is set in the twilight of their careers, and focuses on their farewell tour of Britain and Ireland's variety halls in 1953.\n\nIn 2019 Laurel was voted the greatest ever British comedian by a panel on the British television channel Gold.\n\nFilmography\n Stan Laurel filmography (films of Stan Laurel as an actor without Oliver Hardy)\n Laurel and Hardy filmography (filmography of Laurel and Hardy together)\n\nReferences\n\nNotes\n\nCitations\n\nBibliography\n\n Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. .\n Bowers, Judith. Stan Laurel and Other Stars of the Panopticon: The Story of the Britannia Music Hall. Edinburgh: Birlinn Ltd, 2007. .\n Louvish, Simon. Stan and Ollie: The Roots of Comedy. London: Faber & Faber, 2001. .\n Marriot, A. J. Laurel & Hardy: The British Tours. Hitchen, Herts, UK: AJ Marriot, 1993. .\n Levy, Joe, ed. Rolling Stone's 500 Greatest Albums of All Time. New York: Wenner Books, 2005. .\n McCabe, John. Babe: The Life of Oliver Hardy. London: Robson Books Ltd., 2004. .\n McCabe, John. Comedy World of Stan Laurel. London: Robson Books, 2005, First edition 1975. .\n McCabe, John. Mr. Laurel & Mr. Hardy: An Affectionate Biography. London: Robson Books, 2004, First edition 1961, .\n Stone, Rob. Laurel or Hardy: The Solo Films of Stan Laurel and Oliver Hardy. Temecula, California: Split Reel Books, 1996\n Okuda, Ted, and James L. Neibaur. Stan Without Ollie: The Stan Laurel Solo Films. Jefferson, NC: McFarland and Co., 2012\n Guiles, Fred Lawrence. Stan: The Life of Stan Laurel. New York: Stein and Day., 1980\n\nExternal links\n\n \n \n \n The Making of Stan Laurel: Echoes of a British Boyhood article at Brenton Film by Danny Lawrence, Stan Laurel's biographer\n The Stan Laurel Correspondence Archive Project\n\nEnglish male comedians\n\nComedians from Lancashire\nBritish male comedy actors\nEnglish entertainers\nEnglish male film actors\nEnglish male silent film actors\nEnglish male stage actors\nEnglish stunt performers\nMusic hall performers\nSilent film comedians\nVaudeville performers\n1890 births\n1965 deaths\nAcademy Honorary Award recipients\nScreen Actors Guild Life Achievement Award\n20th Century Fox contract players\nHal Roach Studios actors\nMetro-Goldwyn-Mayer contract players\nEnglish emigrants to the United States\nBritish expatriate male actors in the United States\nPeople educated at The King's School, Tynemouth\nPeople educated at Stonelaw High School\nPeople from Ulverston\nBurials at Forest Lawn Memorial Park (Hollywood Hills)\nArticles containing video clips\n19th-century English people\n20th-century English male actors\n20th-century English comedians\nHal Roach Studios short film series\nPeople educated at Queen's Park Secondary School" ]
[ "Stan Laurel", "Personal life", "Are there any other interesting aspects about this article?", "Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925,", "Did they have any children?", "I don't know.", "What happened to Laurel and Mae after 1925?", "Laurel had four wives and married one of them a second time after their divorce.", "Did Stan Laurel have any children at all?", "On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois." ]
C_c23860af2294497ebab7a4d20dad0811_0
What else can you tell me about his personal life?
5
Besides Stan Laurel's family, what else can you tell me about Stan's personal life?
Stan Laurel
Laurel and Mae Charlotte Dahlberg never married, but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the USA and sued the now successful Stan Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel had four wives and married one of them a second time after their divorce. Laurel married his first wife, Lois Neilson, on 13 August 1926. On 10 December 1927, during the early years of Laurel and Hardy's partnership, Laurel and Neilson had a baby daughter, also named Lois. In May 1930, their second child, a son named Stanley, was born two months premature and died after nine days. Stan's daughter Lois died on 27 July 2017, aged 89. Laurel and Neilson divorced in December 1934. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, Laurel filed for divorce from Ruth, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), leading to an irate Ruth accusing Stan of bigamy, but their divorce had been finalised a couple of days before his new marriage. After a very volatile marriage to Illeana, during which Stan dug a grave with the intention of burying his wife in it, he and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940, in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers, with Laurel and Ruth divorcing for the second time in early 1946. On 6 May 1946, Laurel married Ida Kitaeva Raphael, to whom he remained married until his death on 23 February 1965. CANNOTANSWER
On 6 May 1946, Laurel married Ida Kitaeva Raphael, to whom he remained married until his death on 23 February 1965.
Stan Laurel (born Arthur Stanley Jefferson; 16 June 1890 – 23 February 1965) was an English comic actor, writer, and film director who was part of the comedy duo Laurel and Hardy. He appeared with his comedy partner Oliver Hardy in 107 short films, feature films, and cameo roles. Laurel began his career in music hall, where he developed a number of his standard comic devices, including the bowler hat, the deep comic gravity, and the nonsensical understatement. His performances polished his skills at pantomime and music hall sketches. He was a member of "Fred Karno's Army", where he was Charlie Chaplin's understudy. He and Chaplin arrived in the United States on the same ship from the United Kingdom with the Karno troupe. Laurel began his film career in 1917 and made his final appearance in 1951. He appeared with his comic partner Oliver Hardy in the film short The Lucky Dog in 1921, although they did not become an official team until late 1927. He then appeared exclusively with Hardy until retiring following his comedy partner's death in 1957. In April 1961, on the 33rd Academy Awards, Laurel was given an Academy Honorary Award for his pioneering work in comedy, and he has a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard. Laurel and Hardy were ranked top among best double acts and seventh overall in a 2005 UK poll to find the Comedians' Comedian. In 2019, Laurel topped a list of the greatest British comedians compiled by a panel on the television channel Gold. In 2009, a bronze statue of the duo was unveiled in Laurel's home town of Ulverston. Early life Arthur Stanley Jefferson was born in his grandparents' house on 16 June 1890 in Argyle Street, Ulverston, Lancashire, to Arthur J. Jefferson, an actor and theatre manager from Bishop Auckland, and Margaret (née Metcalfe), an actress from Ulverston. He was one of five children. One of them was Edward, an actor who would appear in four of Stan's shorts. His parents were both active in the theatre and always very busy. In his early years, Laurel spent much time living with his maternal grandmother, Sarah Metcalfe. He attended school at King James I Grammar School in Bishop Auckland, County Durham, and the King's School in Tynemouth, Northumberland. He moved with his parents to Glasgow, Scotland, where he completed his education at Rutherglen Academy. His father managed Glasgow's Metropole Theatre, where Laurel began work. His boyhood hero was Dan Leno, one of the greatest English music hall comedians. With a natural affinity for the theatre, Laurel gave his first professional performance on stage at the Panopticon in Glasgow at the age of sixteen, where he polished his skills at pantomime and music hall sketches. It was the music hall from where he drew his standard comic devices, including his bowler hat and nonsensical understatement. In 1912 Laurel worked together with Ted Desmond on tour in Netherlands and Belgium as a comedy double act known as the Barto Bros. Their act, which involved them dressing as Romans, finished when Laurel was offered a spot in an American touring troupe. After Laurel left England for America the pair maintained a life-long friendship, sending letters and photos that documented Laurel's rise from an unknown British comedy actor in 1913 to one of the biggest names in Hollywood in the 1950s. The correspondence, spanning around 50 years and including photos of them being reunited in the US, was put up for auction by Desmond's grandson Geoffrey Nolan in 2018. He joined Fred Karno's troupe of actors in 1910 with the stage name of "Stan Jefferson"; the troupe also included a young Charlie Chaplin. The music hall nurtured him, and he acted as Chaplin's understudy for some time. Karno was a pioneer of slapstick, and in his biography Laurel stated, "Fred Karno didn't teach Charlie [Chaplin] and me all we know about comedy. He just taught us most of it". Chaplin and Laurel arrived in the United States on the same ship from Britain with the Karno troupe and toured the country. During the First World War, Laurel registered for military service in America on 5 June 1917, as required under the Selective Service Act. He was not called up; his registration card states his status as resident alien and his deafness as exemptions. The Karno troupe broke up in the spring of 1914. Stan joined with two other former Karno performers, Edgar Hurley and his wife Ethel (known as "Wren") to form "The Three Comiques". On the advice of booking agent Gordon Bostock, they called themselves "the Keystone Trio". Stan started to do his character as an imitation of Charlie Chaplin, and the Hurleys began to do their parts as silent comedians Chester Conklin and Mabel Normand. They played successfully from February through October 1915, until the Hurleys and Stan parted ways. Between 1916 and 1918, he teamed up with Alice Cooke and Baldwin Cooke, who became his lifelong friends, to form the Stan Jefferson Trio. Amongst other performers, Laurel worked briefly alongside Oliver Hardy in the silent film short The Lucky Dog (1921), before the two were a team. It was around this time that Laurel met Mae Dahlberg. Around the same time, he adopted the stage name of Laurel at Dahlberg's suggestion that his stage name Stan Jefferson was unlucky, due to it having thirteen letters. The pair were performing together when Laurel was offered $75 a week to star in two-reel comedies. After making his first film Nuts in May, Universal offered him a contract. The contract was soon cancelled during a reorganisation at the studio. Among the films in which Dahlberg and Laurel appeared together was the 1922 parody Mud and Sand. By 1924, Laurel had given up the stage for full-time film work, under contract with Joe Rock for 12 two-reel comedies. The contract had one unusual stipulation: that Dahlberg was not to appear in any of the films. Rock thought that her temperament was hindering Laurel's career. In 1925, she started interfering with Laurel's work, so Rock offered her a cash settlement and a one-way ticket back to her native Australia, which she accepted. The 12 two-reel comedies were Mandarin Mix-Up (1924), Detained (1924), Monsieur Don't Care (1924), West of Hot Dog (1924), Somewhere in Wrong (1925), Twins (1925), Pie-Eyed (1925), The Snow Hawk (1925), Navy Blue Days (1925), The Sleuth (1925), Dr. Pyckle and Mr. Pryde (1925) and Half a Man (1925). Like his future mate, Hardy, Laurel was credited for directing or co-directing ten silent shorts (between 1925 and 1927). But, unlike Hardy, Laurel appeared in none of them. It was Hardy, however, who appeared in three of the shorts directed by Laurel, which are: Yes, Yes, Nanette! (1925), Wandering Papas (1926) and Madame Mystery (1926). Laurel and Hardy Laurel next signed with the Hal Roach studio, where he began directing films, including a 1926 production called Yes, Yes, Nanette (in which Oliver Hardy had a part under the name "Babe" Hardy). It had been his intention to work primarily as a writer and director. The same year, Hardy, a member of the Hal Roach Studios Comedy All Star players, was injured in a kitchen mishap and hospitalised. Because he was unable to work on the scheduled film, Get 'Em Young, Laurel was asked to return to acting to fill in. Starting early in 1927, Laurel and Hardy began sharing the screen in several short films, including Duck Soup, Slipping Wives and With Love and Hisses. The two became friends and their comic chemistry soon became obvious. Roach Studios' supervising director Leo McCarey noticed the audience reaction to them and began teaming them, leading to the creation of the Laurel and Hardy series later that year. Together, the two men began producing a huge body of short films, including The Battle of the Century, Should Married Men Go Home?, Two Tars, Be Big!, Big Business, and many others. Laurel and Hardy successfully made the transition to talking films with the short Unaccustomed As We Are in 1929. They also appeared in their first feature in one of the revue sequences of The Hollywood Revue of 1929, and the following year they appeared as the comic relief in the lavish all-colour (in Technicolor) musical feature The Rogue Song. Their first starring feature Pardon Us was released in 1931. They continued to make both features and shorts until 1935, including their 1932 three-reeler The Music Box, which won an Academy Award for Best Short Subject. Trouble at Roach Studio During the 1930s, Laurel was involved in a dispute with Hal Roach which resulted in the termination of his contract. Roach maintained separate contracts for Laurel and Hardy that expired at different times, so Hardy remained at the studio and was "teamed" with Harry Langdon for the 1939 film Zenobia. The studio discussed a series of films co-starring Hardy with Patsy Kelly to be called "The Hardy Family". But Laurel sued Roach over the contract dispute. Eventually, the case was dropped and Laurel returned to Roach. The first film that Laurel and Hardy made after Laurel returned was A Chump at Oxford. Subsequently, they made Saps at Sea, which was their last film for Roach. Second World War In 1941, Laurel and Hardy signed a contract at 20th Century-Fox to make ten films over five years. Laurel found, to his shock, that he and Hardy were hired only as actors, and were not expected to contribute to the staging, writing, or editing of the productions. When the films proved very successful, Laurel and Hardy were granted more freedom and gradually added more of their own material. They had made six Fox features when the studio suddenly abandoned B-picture production in December 1944. The team signed another contract with Metro-Goldwyn-Mayer in 1942, resulting in two more features. Revisiting his music hall days, Laurel returned to England in 1947 when he and Hardy went on a six-week tour of the United Kingdom performing in variety shows. Mobbed wherever they went, Laurel's homecoming to Ulverston took place in May, and the duo were greeted by thousands of fans outside the Coronation Hall. The Evening Mail noted: "Oliver Hardy remarked to our reporter that Stan had talked about Ulverston for the past 22 years and he thought he had to see it." The tour included a Royal Variety Performance in front of King George VI and his consort Queen Elizabeth in London. The success of the tour led them to spend the next seven years touring the UK and Europe. Around this time, Laurel found out that he had diabetes, so he encouraged Hardy to find solo projects, which he did, taking parts in John Wayne and Bing Crosby films. In 1950, Laurel and Hardy were invited to France to make a feature film. The film was a disaster, a Franco-Italian co-production titled Atoll K. (The film was entitled Utopia in the US and Robinson Crusoeland in the UK.) Both stars were noticeably ill during the filming. Upon returning to the United States, they spent most of their time recovering. In 1952, Laurel and Hardy toured Europe successfully, and they returned in 1953 for another tour of the continent. During this tour, Laurel fell ill and was unable to perform for several weeks. In May 1954, Hardy had a heart attack and cancelled the tour. In 1955, they were planning to do a television series called Laurel and Hardy's Fabulous Fables based on children's stories. The plans were delayed after Hardy suffered a stroke on 25 April 1955, from which he recovered. But as the team was planning to get back to work, Hardy had another stroke on 14 September 1956, and was unable to return to acting. Hardy's death Oliver Hardy died on 7 August 1957. People who knew Laurel said that he was absolutely devastated by Hardy's death and never fully recovered from it; his wife told the press that he became physically ill upon hearing that Hardy was dying. Laurel was in fact too ill to attend his funeral and said, "Babe would understand". Although he continued to socialize with his fans, he refused to perform on stage or act in another film from then on as he had no interest in working without Hardy, turning down every offer he was given for a public appearance. After Laurel and Hardy In 1961, Stan Laurel was given an Academy Honorary Award "for his creative pioneering in the field of cinema comedy". Laurel was introduced by Bob Hope, and the award was accepted by Danny Kaye. Laurel had achieved his lifelong dream as a comedian and had been involved in nearly 190 films. He lived his final years in a small flat in the Oceana Apartments in Santa Monica, California. Laurel was gracious to fans and spent much time answering fan mail. His phone number was also listed in the telephone directory and he would take calls from fans. Jerry Lewis was among the comedians to visit Laurel, and Lewis received suggestions from him for the production of The Bellboy (1960). Lewis paid tribute to Laurel by naming his main character Stanley in the film, and having Bill Richmond play a version of Laurel as well. Dick Van Dyke told a similar story. When he was just starting his career, he looked up Laurel's phone number, called him, and then visited him at his home. Van Dyke played Laurel on "The Sam Pomerantz Scandals" episode of The Dick Van Dyke Show. Laurel was offered a cameo role in It's a Mad, Mad, Mad, Mad World (1963), but declined. He reportedly said he did not want to be on screen in his old age, especially without Hardy. It appears, however, his involvement reached the stage of filming a background matching shot of his old time convertible, with a stand-in seated, at the wheel, donning a derby hat. The cameo appearance was then given to Jack Benny, who wore Laurel's signature derby in the scene. Personal life Laurel and Mae Dahlberg never married but lived together as common-law husband and wife from 1919 to 1925, before Dahlberg accepted a one-way ticket from Joe Rock to go back to her native Australia. In November 1937, Dahlberg was back in the US and suing Laurel for financial support. At the time, Laurel's second marriage was in the process of a divorce, with Dahlberg's legal suit adding to Laurel's woes. The matter was settled out of court. Dahlberg was described as a "relief project worker" by the court. Laurel was one of several popular British actors in Hollywood who never became a naturalised US citizen. Laurel had four wives and married one of them a second time after their divorce. His first wife was Lois Neilson, whom he married on 13 August 1926. Together they had a daughter, Lois, who was born on . Their second child, Stanley, was born two months premature in May 1930, but died after nine days. Laurel and Neilson divorced in December 1934. Their daughter Lois died on aged 89. In 1935, Laurel married Virginia Ruth Rogers (known as Ruth). In 1937, he filed for divorce, confessing that he was not over his ex-wife Lois, but Lois decided against a reconciliation. On New Year's Day 1938, Laurel married Vera Ivanova Shuvalova (known as Illeana), and Ruth accused him of bigamy, but their divorce had been finalised a couple of days before his new marriage. The new marriage was very volatile, and Illeana accused him of trying to bury her alive in the back yard of their San Fernando Valley home. He and Illeana separated in 1939 and divorced in 1940, with Illeana surrendering all claim to the Laurel surname on 1 February 1940 in exchange for $6,500. In 1941, Laurel remarried Virginia Ruth Rogers; they were divorced for the second time in early 1946. On 6 May 1946, he married Ida Kitaeva Raphael to whom he remained married until his death. Death Laurel was a smoker until suddenly quitting around 1960. In January 1965, he underwent a series of x-rays for an infection on the roof of his mouth. He died on 23 February 1965, aged 74, four days after suffering a heart attack. Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. "I'm not," said Laurel, "I'd rather be doing that than this!" A few minutes later he died quietly in his armchair. At his funeral service at Church of the Hills, Buster Keaton said, "Chaplin wasn't the funniest. I wasn't the funniest; this man was the funniest." Dick Van Dyke gave the eulogy as a friend, protégé, and occasional impressionist of Laurel during his later years; he read The Clown's Prayer. Laurel had quipped, "If anyone at my funeral has a long face, I'll never speak to him again." He was interred in Forest Lawn–Hollywood Hills Cemetery. Legacy and honours Laurel and Hardy are featured on the cover of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. In 1989, a statue of Laurel was erected in Dockwray Square, North Shields, Tyne and Wear, England, where he lived at No. 8 from 1897 to 1902. The steps down from the Square to the North Shields Fish Quay were said to have inspired the piano-moving scene in The Music Box. In a 2005 UK poll, Comedians' Comedian, Laurel and Hardy were ranked top double act, and seventh overall. Along with Hardy, Laurel was inducted into the Grand Order of Water Rats. Neil Brand wrote a radio play entitled Stan, broadcast in 2004 on BBC Radio 4 and subsequently on BBC Radio 4 Extra, starring Tom Courtenay as Stan Laurel, in which Stan visits Oliver Hardy after Hardy has suffered his stroke and tries to say the things to his dying friend and partner that have been left unsaid. In 2006, BBC Four showed a drama called Stan, based on Brand's radio play, in which Laurel meets Hardy on his deathbed and reminisces about their career. A plaque on the Bull Inn, Bottesford, Leicestershire, England, marks Laurel and Hardy appearing in Nottingham over Christmas 1952, and staying with Laurel's sister, Olga, who was the landlady of the pub. In 2008, a statue of Stan Laurel was unveiled in Bishop Auckland, County Durham, on the site of the Eden Theatre. In April 2009, a bronze statue of Laurel and Hardy was unveiled in Ulverston. There is a Laurel and Hardy Museum in Stan's hometown of Ulverston. There are two Laurel and Hardy museums in Hardy's hometown of Harlem, Georgia. One is operated by the town of Harlem, and the other is a private museum owned and operated by Gary Russeth, a Harlem resident. Jefferson Drive in Ulverston is named after him. In 2013 Gail Louw and Jeffrey Holland debuted a short one-man play "...And this is my friend Mr Laurel" at the Camden Fringe festival. The play, starring Holland as Laurel, was taken on tour of the UK in 2014 until June 2015. In the 2018 film Stan & Ollie, Steve Coogan portrayed Laurel (a performance which saw him nominated for the BAFTA for Best Actor in a Leading Role) and John C. Reilly played Hardy. Developed by BBC Films, the film is set in the twilight of their careers, and focuses on their farewell tour of Britain and Ireland's variety halls in 1953. In 2019 Laurel was voted the greatest ever British comedian by a panel on the British television channel Gold. Filmography Stan Laurel filmography (films of Stan Laurel as an actor without Oliver Hardy) Laurel and Hardy filmography (filmography of Laurel and Hardy together) References Notes Citations Bibliography Bergen, Ronald. The Life and Times of Laurel and Hardy. New York: Smithmark, 1992. . Bowers, Judith. Stan Laurel and Other Stars of the Panopticon: The Story of the Britannia Music Hall. Edinburgh: Birlinn Ltd, 2007. . Louvish, Simon. Stan and Ollie: The Roots of Comedy. London: Faber & Faber, 2001. . Marriot, A. J. Laurel & Hardy: The British Tours. Hitchen, Herts, UK: AJ Marriot, 1993. . Levy, Joe, ed. Rolling Stone's 500 Greatest Albums of All Time. New York: Wenner Books, 2005. . McCabe, John. Babe: The Life of Oliver Hardy. London: Robson Books Ltd., 2004. . McCabe, John. Comedy World of Stan Laurel. London: Robson Books, 2005, First edition 1975. . McCabe, John. Mr. Laurel & Mr. Hardy: An Affectionate Biography. London: Robson Books, 2004, First edition 1961, . Stone, Rob. Laurel or Hardy: The Solo Films of Stan Laurel and Oliver Hardy. Temecula, California: Split Reel Books, 1996 Okuda, Ted, and James L. Neibaur. Stan Without Ollie: The Stan Laurel Solo Films. Jefferson, NC: McFarland and Co., 2012 Guiles, Fred Lawrence. Stan: The Life of Stan Laurel. New York: Stein and Day., 1980 External links The Making of Stan Laurel: Echoes of a British Boyhood article at Brenton Film by Danny Lawrence, Stan Laurel's biographer The Stan Laurel Correspondence Archive Project English male comedians Comedians from Lancashire British male comedy actors English entertainers English male film actors English male silent film actors English male stage actors English stunt performers Music hall performers Silent film comedians Vaudeville performers 1890 births 1965 deaths Academy Honorary Award recipients Screen Actors Guild Life Achievement Award 20th Century Fox contract players Hal Roach Studios actors Metro-Goldwyn-Mayer contract players English emigrants to the United States British expatriate male actors in the United States People educated at The King's School, Tynemouth People educated at Stonelaw High School People from Ulverston Burials at Forest Lawn Memorial Park (Hollywood Hills) Articles containing video clips 19th-century English people 20th-century English male actors 20th-century English comedians Hal Roach Studios short film series People educated at Queen's Park Secondary School
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[ "Forever Young is Kaysha's album released 2009.\n\nTrack list\n\n Anti Bad Music Police\n Be With You\n Digital Sexyness\n Duro\n Fanta & Avocado\n Forever Young Intro\n Funky Makaku\n Glorious Beautiful\n Heaven\n Hey Girl\n I Give You the Music\n I Still Love You\n Joachim\n Kota Na Piste\n Les Belles Histoires D'amour\n Love You Need You\n Loving and Kissing\n Make More Dollars\n Nobody Else\n On Veut Juste Danser\n Once Again\n Outro\n Paradisio / Inferno\n Pour Toujours\n Pure\n Si Tu T'en Vas\n Simple Pleasures\n Tell Me What We Waiting For\n That African Shit\n The Sweetest Thing\n The Way You Move\n Toi Et Moi\n U My Bb\n Yes You Can\n You + Me\n You're My Baby Girl\n\n2009 albums", "\"Tell Me What You Want Me to Do\" is the title of a number-one R&B single by singer Tevin Campbell. To date, the single is Campbell's biggest hit peaking at number 6 on the Billboard Hot 100 and spending one week at number-one on the US R&B chart. The hit song is also Tevin's one and only Adult Contemporary hit, where it peaked at number 43. The song showcases Campbell's four-octave vocal range from a low note of E2 to a D#6 during the bridge of the song.\n\nTrack listings\nUS 7\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (instrumental) – 5:00\n\n12\" vinyl\nA \"Tell Me What You Want Me to Do\" (edit) – 4:16\t\nB \"Tell Me What You Want Me to Do\" (album version) – 5:02\n\nUK CD\n \"Tell Me What You Want Me to Do\" – 4:16\n \"Goodbye\" (7\" Remix Edit) – 3:48\n \"Goodbye\" (Sidub and Listen) – 4:58\n \"Goodbye\" (Tevin's Dub Pt 1 & 2) – 6:53\n\nJapan CD\n \"Tell Me What You Want Me to Do\" – 4:10\n \"Tell Me What You Want Me to Do\" (instrumental version) – 4:10\n\nGermany CD\n \"Tell Me What You Want Me to Do\" (edit) – 4:10\n \"Just Ask Me\" (featuring Chubb Rock) – 4:07\n \"Tomorrow\" (A Better You, Better Me) – 4:46\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSee also\nList of number-one R&B singles of 1992 (U.S.)\n\nReferences\n\nTevin Campbell songs\n1991 singles\n1991 songs\nSongs written by Tevin Campbell\nSongs written by Narada Michael Walden\nSong recordings produced by Narada Michael Walden\nWarner Records singles\nContemporary R&B ballads\nPop ballads\nSoul ballads\n1990s ballads" ]
[ "Warren Sapp", "Tampa Bay Buccaneers" ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
When did he join the Buccaneers?
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When did Warren Sapp join the Buccaneers?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
Buccaneers in the first round of the 1995 draft
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
false
[ "Michael Smith (born August 9, 1988) is an American football running back who is currently a free agent. He was drafted by the Tampa Bay Buccaneers in the seventh round of the 2012 NFL Draft. He played college football at Utah State.\n\nProfessional career\n\nTampa Bay Buccaneers\nSmith was drafted in the seventh round of the 2012 NFL Draft by the Tampa Bay Buccaneers. On May 7, 2012, Smith signed a four-year deal with the Bucs to officially join the Buccaneers roster. The deal was worth $2.165 million over four years and included a $66,000 signing bonus.\n\nNew York Jets\nSmith signed a one-year contract with the New York Jets on August 1, 2014. He was released on August 23.\n\nReferences\n\nExternal links\nTampa Bay Buccaneers bio\nUtah State Aggies bio\n\n1988 births\nLiving people\nAmerican football running backs\nUtah State Aggies football players\nTampa Bay Buccaneers players\nNew York Jets players\nPlayers of American football from Tucson, Arizona", "Brian Angelichio (born December 27, 1972) is an American football tight ends coach for the Minnesota Vikings. He previously coached for the Panthers, Buccaneers, Browns, Packers, and Redskins.\n\nNFL Coaching\nAngelichio starting his tenure in the NFL coaching tight ends with the Tampa Bay Buccaneers when he came to the NFL from Rutgers with Greg Schiano. He was fired from the Buccaneers the same time as Schiano leading him to spend two years coaching tight ends for the Cleveland Browns from 2014-2015. This was followed by three years of coaching tight ends for the Green Bay Packers. In 2019 he was not retained by Matt LaFluer and the Packers organization. He would end up spending the 2019 season coaching tight ends for the Washington Redskins. In 2020 it was announced the Angelichio would join the Carolina Panthers as the team's tight ends coach.\nIn 2022 Kevin O'Connell hired Angelichio away from the Panthers to become the new Tight Ends/Passing Game Coordinator for the Minnesota Vikings.\n\nReferences\n\n1972 births\nLiving people\nCarolina Panthers coaches\nCleveland Browns coaches\nGreen Bay Packers coaches\nTampa Bay Buccaneers coaches\nPittsburgh Panthers football coaches\nRutgers Scarlet Knights football coaches\nWashington Redskins coaches" ]
[ "Warren Sapp", "Tampa Bay Buccaneers", "When did he join the Buccaneers?", "Buccaneers in the first round of the 1995 draft" ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
How long did he play for them?
2
How long did Warren Sapp play for the Buccaneers?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders.
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
false
[ "Christopher Carrick (8 October 1882 – June 1927) was an English footballer who played for Middlesbrough, West Ham United, Tottenham Hotspur, Reading, Bradford Park Avenue and Glentoran as an outside-left. He was described as \"a sturdy little winger, quick off the mark with the rare gift of taking chances\".\n\nBorn in Stockton, Carrick played for Middlesbrough, scoring six goals in 26 Football League matches over three seasons. He was signed by West Ham United manager Syd King for the 1904–05 season, part of an influx of new players that also included Boro teammate Frank Piercy. He made his debut on 8 October 1904 in a 2–0 home win against Swindon Town. On 28 January 1905 he scored his first goals for West Ham with a hat-trick in a 6–2 home win against Luton Town. He played only 18 games, scoring six goals, before he came to the attention of Tottenham Hotspur, moving to them in the summer of 1905. Signed to replace John Kirwan who had moved to Chelsea, Carrick did not play regularly for Tottenham until the middle of the 1905–06 season. In March 1906 Tottenham travelled to play away games at Bristol Rovers and at Plymouth Argyle. On returning to London Carrick and a teammate were suspended by Tottenham for \"ignoring training rules\". He did not play for them again and was transferred to Reading before moving to Bradford Park Avenue for the 1907–08 season. In 1908 he moved to Ireland to play for Glentoran. \nHe died in Middlesbrough in June 1927, aged 44, following a long illness.\n\nReferences\n\n1882 births\n1927 deaths\nDate of death missing\nSportspeople from Stockton-on-Tees\nFootballers from County Durham\nEnglish footballers\nAssociation football outside forwards\nMiddlesbrough F.C. players\nWest Ham United F.C. players\nTottenham Hotspur F.C. players\nReading F.C. players\nBradford (Park Avenue) A.F.C. players\nGlentoran F.C. players\nEnglish Football League players\nSouthern Football League players\nLeague of Ireland players", "Tom Amberry (November 13, 1922 – March 18, 2017) was an American podiatrist who is best known for holding the Guinness world record for most consecutive free throws made, having made 2,750 of them in a row in a span of 12 hours over the course of November 15, 1993 at the age of 71. Amberry held the record for two and a half years before it was surpassed in April 1996 by Ted St. Martin. After setting his record, he worked with several teams, including the Chicago Bulls to help the players with their free throw shooting.\n\nAfter graduating college he decided to forgo a two-year contract to play with the then-Minneapolis Lakers, choosing to attend podiatry school instead. His medical office was located on Atlantic Avenue in Long Beach, California.\n\nReferences\n\nExternal links\nArticle about Amberry\nAmberry's page at basketball's best\nAmberry's official website\nFeldman, Jay (1994). Routine Perfection: How did Tom Amberry set the world free throw record? Focus, focus, focus Sports Illustrated. Retrieved 22 April 2013\n\n1922 births\n2017 deaths\nChicago Bulls coaches\nPeople from Grand Forks, North Dakota\nAmerican podiatrists" ]
[ "Warren Sapp", "Tampa Bay Buccaneers", "When did he join the Buccaneers?", "Buccaneers in the first round of the 1995 draft", "How long did he play for them?", "In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders." ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
How many Super Bowls did he win with Tampa
3
How many Super Bowls did Sapp win with Tampa?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
CANNOTANSWER
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
false
[ "Michael Timothy Lodish (born August 11, 1967) is an American former professional football player who was a defensive tackle in the National Football League (NFL). He was selected by the Buffalo Bills in the tenth round of the 1990 NFL Draft. A 6'3\", 270-lb. defensive tackle and nose tackle from UCLA, Lodish played in 11 NFL seasons from 1990-2000 for the Bills and Denver Broncos.\n\nSix Super Bowls\nLodish is tied with Don Beebe and Stephen Gostkowski for second in all-time Super Bowl appearances with six. This is only behind Tom Brady, who played in his tenth Super Bowl on February 7, 2021, at Super Bowl LV in Tampa, Florida (It is worth noting that Lodish and Gostkowski played in the Super Bowl six times, while Beebe only played in three of the six Super Bowls he was on the team for). Lodish made four consecutive appearances with the Buffalo Bills in Super Bowls XXV, XXVI, XXVII & XXVIII and two appearances with the Denver Broncos in Super Bowls XXXII & XXXIII. The Buffalo Bills would lose all four consecutive Super Bowls, while the Denver Broncos would win their back-to-back appearances.\n\nPersonal\nLodish has worked as an NFL player agent at Ethos Sports Management from 2004 to 2009 and was a sales rep for a Michigan-based communications company, TVS Communication Solutions from 2009 to 2011.\n\nHe went to Brother Rice High School in Bloomfield Hills, MI.\n\nReferences\n\n1967 births\nLiving people\nPlayers of American football from Detroit\nAmerican football defensive tackles\nUCLA Bruins football players\nBuffalo Bills players\nDenver Broncos players", "The NFL Championships describes both the Championship games of the National Football League, which ran from 1920 to 1969; and the Super Bowl, which has run from 1966 to the present. Many players and teams have won these championships on multiple occasions, both during the NFL Championships and the Super Bowl era. The majority of these players were on the Green Bay Packers between 1960 and 1967, a period in which the Packers won three NFL Championships and the first two Super Bowl games.\n\nSeven championships\n\nTom Brady (quarterback) won Super Bowls XXXVI, XXXVIII, XXXIX, XLIX, LI, and LIII with the New England Patriots after the 2001, 2003, 2004, 2014, 2016, and 2018 seasons, respectively. He won Super Bowl LV with the Tampa Bay Buccaneers after the 2020 season.\n\nSix championships\nThree players have won six championships counting the pre-Super Bowl era. To avoid double counting from 1966 to 1969, only the NFL championships from 1920–1965 and the Super Bowls from 1966 onward are counted.\n \t\nFuzzy Thurston (offensive lineman) won the NFL championships with the Baltimore Colts in 1958, with the Green Bay Packers in 1961, 1962 and 1965, and won Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nForrest Gregg (offensive lineman) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively, and Super Bowl VI with the Dallas Cowboys after the 1971 season.\nHerb Adderley (defensive back) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively, and Super Bowl VI with the Dallas Cowboys after the 1971 season.\n\nFive championships\n13 players have won 5 championships counting the pre-Super Bowl era; with the exception of Charles Haley, all were from the 1960s Packers.\n\nBart Starr (quarterback) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nJerry Kramer (offensive lineman) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nRay Nitschke (linebacker) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nHenry Jordan (defensive lineman) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nWillie Davis (defensive lineman) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nWillie Wood (defensive back) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nMax McGee (wide receiver) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nBob Skoronski (offensive lineman) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nElijah Pitts (running back) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nRon Kostelnik (defensive lineman) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nBoyd Dowler (wide receiver) won the NFL championships with the Green Bay Packers in 1961, 1962 and 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively.\nMarv Fleming (tight end) won the NFL championships with the Green Bay Packers in 1965, Super Bowls I and II with the Packers after the 1966 and 1967 seasons, respectively, and Super Bowls VII and VIII with the Dolphins after the 1972 and 1973 seasons, respectively.\nCharles Haley (defensive lineman) won Super Bowls XXIII, and XXIV with the 49ers after the 1988 and 1989 seasons, respectively, and Super Bowls XXVII, XXVIII and XXX with the Cowboys after the 1992, 1993 and 1995 seasons, respectively.\n\nList of players with most Super Bowl championships\n\nReferences\n\nChampionships\nSuper Bowl lists\nNational Football League\nNational Football League Championship games" ]
[ "Warren Sapp", "Tampa Bay Buccaneers", "When did he join the Buccaneers?", "Buccaneers in the first round of the 1995 draft", "How long did he play for them?", "In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders.", "How many Super Bowls did he win with Tampa", "I don't know." ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
Was he ever injured while playing?
4
Was Sapp ever injured while playing football?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
CANNOTANSWER
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
false
[ "Khalen Saunders (born August 9, 1996) is an American football defensive tackle for the Kansas City Chiefs of the National Football League (NFL). He played college football for Western Illinois and high school football at Parkway Central High School.\n\nCollege career\nAfter playing high school football as a running back and a defensive lineman at Parkway Central High School, Saunders received only one Division I scholarship offer, from Western Illinois.\n\nDuring his career at WIU, Saunders mainly played defensive line but also sporadically continued his career on the offensive side of the ball, recording a rushing and a receiving touchdown in his career. After his senior season, he became the first Leatherneck ever invited to the Senior Bowl, and while playing in the contest, recorded the game's first sack on Will Grier, earning accolades from Oakland Raiders coach Jon Gruden. Saunders also picked up exposure over the offseason by having a video of him backflipping featured on prominent draft analyst Adam Schefter's Twitter account; the tweet amassed over 7,000 likes.\n\nProfessional career\n\nSaunders was drafted by the Kansas City Chiefs in the third round with the 84th overall pick the 2019 NFL Draft. Saunders won Super Bowl LIV when the Chiefs defeated the San Francisco 49ers 31–20.\n\nSaunders was placed on injured reserve on September 19, 2020 after suffering a dislocated elbow in Week 1. He was activated on October 24.\n\nOn November 30, 2021, Saunders was placed on injured reserve. He was activated on January 24, 2022.\n\nPersonal life\nHe and his wife Ayanna Saunders had a daughter who was born while he was at the 2019 Senior Bowl.\n\nReferences\n\nExternal links\n Kansas City Chiefs bio\n Western Illinois Leathernecks bio\n \n\n1996 births\nLiving people\nAmerican football defensive tackles\nKansas City Chiefs players\nPeople from Chesterfield, Missouri\nPlayers of American football from Missouri\nSportspeople from St. Louis County, Missouri\nWestern Illinois Leathernecks football players", "David Ellsworth Posey (born April 1, 1956) is a former American football kicker who played for the New England Patriots in the National Football League (NFL). He played college football at Florida University.\n\nEarly life and education \nWhen Posey was in St. Andrews high school, the Miami Dolphins trained at his campus while he was there, making him friends with many Dolphins players. Because of that, he was trained by All-Pro Miami Dolphins starting kicker Garo Yepremian and Miami Dolphins backup kicker Karl Kremser. He was both a kicker and punter. He was also The Herald's 'Offensive Player of The Week' in Palm Beach County twice.\n\nPosey came to Florida University with no scholarship, being a walk-on. In a game against the Auburn Tigers on November 2nd, 1974, Posey made 2 field goals including a 47 yarder to take the lead at halftime in a 25-14 victory.\n\nProfessional career \nPosey was drafted by the San Francisco 49ers in the 9th round of the 1977 NFL draft. He was cut by the 49ers before the season had begun, not playing at all in the 1977 season. In 1978, he was signed to the Atlanta Falcons during the preseason but was also cut by them.\n\nHowever, during the 1978 NFL season, Posey got signed to the New England Patriots to replace the injured John Smith, whom got injured during week 3. In week 15 against the Buffalo Bills, Posey kicked a game-winning field goal to give the patriots their first ever division championship. Playing in eleven games, he made 11-of-22 field goals and 29-of-31 extra points. He played his first playoff game in the divisional round against the Houston Oilers. In that playoff loss, he made 2-of-2 extra points but missed his lone field goal.\n\nReferences \n\n1956 births\nLiving people\nAmerican football placekickers\nFlorida Gators football players\nSan Francisco 49ers players\nNew England Patriots players\nAtlanta Falcons players" ]
[ "Warren Sapp", "Tampa Bay Buccaneers", "When did he join the Buccaneers?", "Buccaneers in the first round of the 1995 draft", "How long did he play for them?", "In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders.", "How many Super Bowls did he win with Tampa", "I don't know.", "Was he ever injured while playing?", "I don't know." ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
Did you find anything interesting in the article?
5
Did you find anything interesting in the Warren Sapp article?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
reports of multiple failed cocaine and marijuana tests
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
true
[ "Silicon Snake Oil: Second Thoughts on the Information Highway is a 1995 book written by Clifford Stoll where he discusses his ambivalence regarding the future of how the internet will be used. He wrote the book at a time when he felt the promise of the internet was being over-hyped: \"I'm mainly speaking to people who feel mystically lured to the Internet: lotus-eaters, beware. Life in the real world is far more interesting, far more important, far richer, than anything you'll ever find on a computer screen.\" Stoll later acknowledged that the book was a mistake.\n\nSummary \n\nIn Silicon Snake Oil and an accompanying article, The Internet? Bah!, in Newsweek Stoll raised questions about the influence of the Internet on future society and whether it would be beneficial. Along the way, he made various predictions, e.g. about e-commerce (calling it nonviable due to a lack of personal contact and secure online funds transfers), the future of printed news publications (\"no online database will replace your daily newspaper\") and the cost of digitizing books would be too expensive since only 200 books had been digitized at the time. When the article resurfaced on BoingBoing in 2010, Stoll left a self-deprecating comment: \"Of my many mistakes, flubs, and howlers, few have been as public as my 1995 howler....Now, whenever I think I know what's happening, I temper my thoughts: Might be wrong, Cliff...\"\n\nSee also \n Paul Krugman#Views on technology\n\nReferences\n\nExternal links \n 1997 Review by Eli T. Vestich\n\n1995 non-fiction books\nAmerican non-fiction books\nBooks about the Internet\nDoubleday (publisher) books", "Produced by Ashi Productions, the anime series is the title of two different magical-girl anime. In this article, it is described first series' episodes list.\n\nIt premiered in Japan on TV Tokyo on March 18, 1982 where it ran for 63 episodes until its conclusion on May 26, 1983. The series separated two seasons. The first season include 48 episodes. The princess of fairyland is sent on a mission. The second season, she against Evil Shadow in the dream.\n\n\"You may do anything, as long as it is interesting.\" Magical Princess Minky Momo is created by this policy. This anime series has many type of a tale. For example, one episodes is a love romance, is a spy fiction, is a super robot anime. Plus, episode 42 is a parody of the movie Dr. Strangelove.\n\nSee also\nList of Minky Momo 1991 episodes\n\nReferences\n\nLists of anime episodes\n\nfr:Gigi (série télévisée d'animation)#Épisodes\nja:魔法のプリンセス ミンキーモモのエピソード一覧#『魔法のプリンセスミンキーモモ』(1982年)" ]
[ "Warren Sapp", "Tampa Bay Buccaneers", "When did he join the Buccaneers?", "Buccaneers in the first round of the 1995 draft", "How long did he play for them?", "In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders.", "How many Super Bowls did he win with Tampa", "I don't know.", "Was he ever injured while playing?", "I don't know.", "Did you find anything interesting in the article?", "reports of multiple failed cocaine and marijuana tests" ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
How many times did he fail those test?
6
How many times did Sapp fail the cocaine and marijuana test?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
The NFL released a statement strongly denying the rumors,
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
false
[ "The cricket test, also known as the Tebbit test, was a controversial phrase coined in April 1990 by the British Conservative politician Norman Tebbit in reference to the perceived lack of loyalty to the England cricket team among South Asian and Caribbean immigrants and their children. Tebbit suggested that those immigrants who support their native countries rather than England at the sport of cricket are not significantly integrated into the United Kingdom.\n\nBackground\nPost-war Britain experienced mass migration from the cricket playing countries of the West Indies and South Asia. Ever since, the issue of assimilation and multiculturalism has been a controversial issue in British politics.\n\nTebbit, in an interview with the Los Angeles Times, said: \"A large proportion of Britain's Asian population fail to pass the cricket test. Which side do they cheer for? It's an interesting test. Are you still harking back to where you came from or where you are?\"\n\nTebbit told Woodrow Wyatt in 1991 that he did not think certain immigrant communities would assimilate \"because some of them insist on sticking to their own culture, like the Muslims in Bradford and so forth, and they are extremely dangerous.\"\n\nLegacy \nThe phrase \"cricket test\" and the associated loyalty concepts received a lot of media attention for many months after Tebbit's statement, and have been widely discussed and argued over ever since. Rather than staying culturally separate, immigrants from the Windrush generation said they used cricket to overcome racism, gain acceptance and integrate into British society.\n\nLord Tebbit later claimed that his test could have prevented the Glasgow International Airport attack and the 2007 London bombs. However, his remarks have been decried by some as ignorant and outdated.\n\nSee also\n Britishness\n Cultural assimilation\n Politics and sports\n\nReferences\n\nPolitics of the United Kingdom\nPolitical neologisms\nCultural assimilation\nCricket culture\n1990 neologisms", "Kuiper's test is used in statistics to test that whether a given distribution, or family of distributions, is contradicted by evidence from a sample of data. It is named after Dutch mathematician Nicolaas Kuiper.\n\nKuiper's test is closely related to the better-known Kolmogorov–Smirnov test (or K-S test as it is often called). As with the K-S test, the discrepancy statistics D+ and D− represent the absolute sizes of the most positive and most negative differences between the two cumulative distribution functions that are being compared. The trick with Kuiper's test is to use the quantity D+ + D− as the test statistic. This small change makes Kuiper's test as sensitive in the tails as at the median and also makes it invariant under cyclic transformations of the independent variable. The Anderson–Darling test is another test that provides equal sensitivity at the tails as the median, but it does not provide the cyclic invariance.\n\nThis invariance under cyclic transformations makes Kuiper's test invaluable when testing for cyclic variations by time of year or day of the week or time of day, and more generally for testing the fit of, and differences between, circular probability distributions.\n\nDefinition\n\nThe test statistic, V, for Kuiper's test is defined as follows. Let F be the continuous cumulative distribution function which is to be the null hypothesis. Denote the sample of data which are independent realisations of random variables, having F as their distribution function, by xi (i=1,...,n). Then define\n\nand finally,\n\nTables for the critical points of the test statistic are available, and these include certain cases where the distribution being tested is not fully known, so that parameters of the family of distributions are estimated.\n\nExample\n\nWe could test the hypothesis that computers fail more during some times of the year than others. To test this, we would collect the dates on which the test set of computers had failed and build an empirical distribution function. The null hypothesis is that the failures are uniformly distributed. Kuiper's statistic does not change if we change the beginning of the year and does not require that we bin failures into months or the like. Another test statistic having this property is the Watson statistic, which is related to the Cramér–von Mises test.\n\nHowever, if failures occur mostly on weekends, many uniform-distribution tests such as K-S and Kuiper would miss this, since weekends are spread throughout the year. This inability to distinguish distributions with a comb-like shape from continuous uniform distributions is a key problem with all statistics based on a variant of the K-S test. Kuiper's test, applied to the event times modulo one week, is able to detect such a pattern. Using event times that have been modulated with the K-S test can result in different results depending on how the data is phased. In this example, the K-S test may detect the non-uniformity if the data is set to start the week on Saturday, but fail to detect the non-uniformity if the week starts on Wednesday.\n\nSee also\n Kolmogorov–Smirnov test\n\nReferences\n\nStatistical tests\nNonparametric statistics\nDirectional statistics\n1960 introductions" ]
[ "Warren Sapp", "Tampa Bay Buccaneers", "When did he join the Buccaneers?", "Buccaneers in the first round of the 1995 draft", "How long did he play for them?", "In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders.", "How many Super Bowls did he win with Tampa", "I don't know.", "Was he ever injured while playing?", "I don't know.", "Did you find anything interesting in the article?", "reports of multiple failed cocaine and marijuana tests", "How many times did he fail those test?", "The NFL released a statement strongly denying the rumors," ]
C_ac92b06cc13f46f69296c53e8f80be0d_1
Are there any other interesting aspects about this article?
7
Are there any other interesting aspects about this article besides Sapp failing cocaine and marijuana tests?
Warren Sapp
After his illustrious college football career at the University of Miami as a defensive standout, Sapp was drafted into the NFL by the Tampa Bay Buccaneers in the first round of the 1995 draft (as the 12th pick overall). Analysts at the time thought he would be drafted much higher, but partially due to reports of multiple failed cocaine and marijuana tests released the night before the draft many teams passed on him. The NFL released a statement strongly denying the rumors, and Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances. Three years later (in 1998), he signed a contract extension paying $36 million over six years. He ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). He was almost immediately given the starting job as Buccaneer right defensive tackle which he held for his entire nine-year stay in Tampa. He finished his rookie season with 27 tackles and one interception and continued to be a prolific, intimidating tackler for the Buccaneers, (51 tackles and nine sacks in 1996, 58 tackles and 10.5 sacks in 1997). His Pro Bowl selection in 1997 was the first of seven straight, and he was honored as NFL Defensive Player of the year in 1999. He flourished in the Bucs' aggressive Tampa 2 defense, which allowed him to put his devastating combination of size and speed to good use. He disrupted the opposition's offense even when double- or even triple-teamed on the line. In 2002, Sapp helped lead a powerful Tampa Bay team to victory in Super Bowl XXXVII over the Oakland Raiders. He made five tackles and two sacks during that 2002-2003 postseason, and was a key component in the league-leading Buccaneer defense. CANNOTANSWER
Sapp today believes an anonymous snitch had intentionally sabotaged his draft chances.
Warren Carlos Sapp (born December 19, 1972) is a former American football defensive tackle who played in the National Football League (NFL) for 13 seasons, primarily with the Tampa Bay Buccaneers. Sapp played college football at Miami, where he received unanimous All-American honors, and was selected by the Buccaneers in the first round of 1995 NFL Draft. He spent nine seasons with the Buccaneers and was a member of the Oakland Raiders in his last four seasons. Following Sapp's NFL career, he was an analyst on NFL Network until 2015. With Tampa Bay, Sapp made seven Pro Bowl appearances, earned first-team All-Pro honors four times, and was part of the team that won the franchise's first Super Bowl title in Super Bowl XXXVII. He compiled 96.5 career sacks by the time of his retirement, which are the second-highest career sacks for a defensive tackle and the 28th-highest overall for a defensive lineman. His career, however, was also checkered by controversy from his hard-hitting style of play and occasional verbal outbursts. Along with Lee Roy Selmon and teammate Derrick Brooks, Sapp is one of three players to have his number retired by the Buccaneers. He was inducted to the Pro Football Hall of Fame in 2013. Early years Sapp was born in Orlando, Florida, and raised in Plymouth, Florida, by a single mother. During the late 1980s, he was honored for outstanding football play at Apopka High School in Apopka, Florida at linebacker, tight end, place-kicker and punter. He holds school records for sacks, tackles for a loss, and longest field goal. A two-sport athlete in high school, he also played on the basketball team as a power forward. In high school football, his hard tackle of Johnny Damon in a game against Dr. Phillips High School team gave the future major league baseball star a concussion. In 2007, Sapp was named to the Florida High School Association All-Century Team comprising the top 33 players in a hundred years of high school football in his home state. College career Many top nationally ranked college football programs recruited Sapp, and he played at the University of Miami where he was a defensive standout. He converted to defensive lineman and in 1994 won the Bronko Nagurski Trophy (for best defensive player), the Lombardi Award (for best lineman or linebacker) and the Bill Willis Award (for best defensive lineman). As a junior at Miami in 1994, he had 84 tackles and led the Hurricanes in sacks with 10.5 sacks. He also finished 6th in Heisman Trophy voting that year. Professional career Tampa Bay Buccaneers 1995 NFL Draft Ahead of the 1995 NFL Draft, Sapp ran the fastest time in the 40-yard dash for a defensive tackle (4.69 sec). Sapp was considered a potential top five or 10 pick, but due to reports of multiple failed cocaine and marijuana tests released the night before the draft, many teams passed on him. He was ultimately selected 12th overall by the Tampa Bay Buccaneers in the first round. The NFL released a statement strongly denying the rumors and Sapp believed an anonymous individual attempted to intentionally sabotage his draft chances. 1996-1999 Sapp was almost immediately given the starting job as the right defensive tackle, which he held for his entire nine-year stay in Tampa. He flourished in the Tampa 2 defense, which included teammates Derrick Brooks and John Lynch. With his devastating combination of size and speed, he was able to disrupt opposing offenses even when double- or even triple-teamed on the line. He finished his rookie season with 27 tackles and one interception and continued to be a prolific tackler for the Buccaneers. He registered 51 tackles and nine sacks in 1996, and 58 tackles and 10.5 sacks in 1997. His Pro Bowl selection in 1997 was the first of seven straight. In 1998, he signed a contract extension paying $36 million over six years. He was honored as NFL Defensive Player of the Year in 1999. 2002 In 2002, the Bucs led the league in defense and won Super Bowl XXXVII over the Oakland Raiders. Sapp made five tackles and two sacks during that postseason. Week 12: Mike Sherman Confrontation On November 24, 2002, at Raymond James Stadium, Sapp was strongly criticized for a blindside hit on the Green Bay Packers' Chad Clifton. The hit occurred during a Buccaneers interception return, when Sapp hit Clifton as the latter was jogging downfield, away from the main action. The hit inflicted a severe pelvic injury and hospitalized Clifton for almost a week, after which he could not walk unaided for the next five weeks. In 2005, the NFL Competition Committee agreed on new guidelines for "unnecessary roughness", making hits such as Sapp's on Clifton illegal. In an exchange caught by television cameras following the game, Packers coach Mike Sherman approached Sapp and said to him, "That was a chickenshit play." In response, Sapp screamed at Sherman: "You talk tough? Put a jersey on!" Sapp later called Sherman "a lying, shit-eating hound. ... If I was 25 years old and didn't have a kid and a conscience, I would have given him an ass-kicking right there at the 30-yard line." Sherman later added, "The joviality that existed after [the hit] when a guy's lying on the ground, with numbness in his legs and fingers, I just thought that wasn't appropriate for any NFL player." Week 16: First skipping incident During pregame warmups for the December 23, 2002 Monday Night Football game at Raymond James Stadium, Sapp skipped among the Pittsburgh Steelers as they warmed up. Steelers running back Jerome Bettis shoved him, touching off a heated argument between the two teams. Sapp was not fined for the incident, but it added to his controversial image and he felt he had been made an example by the NFL by being fined for a second Monday night skipping incident (described below). "That's all this is about," said Sapp. "In my nine years in this league, no one's been fined for verbally abusing officials. It's unprecedented." The Buccaneers had been earlier ridiculed by Steelers' Lee Flowers as being "paper champions." 2003 In 2003, during a Monday Night Football game against the Indianapolis Colts on October 6, Sapp was scolded for skipping through and disrupting the Colts, who were spread out on the field stretching during warmups. Much anticipation and national interest going into the game had been generated by the return of former head coach Tony Dungy to Tampa. The Colts wound up erasing a 21-point deficit in the final four minutes and defeating the Buccaneers 38–35 in overtime, sending the defending champions into a downslide. The next Sunday, October 12, 2003, before the Buccaneers took on the Washington Redskins, Sapp, while running onto the field, bumped into an NFL referee and drew a $50,000 fine. His response: "It's a slave system. Make no mistake about it. Slavemaster say you can't do it, don't do it. They'll make an example out of you." Oakland Raiders In 2004, Sapp was reportedly interested in accepting a contract offer from the Cincinnati Bengals for four years worth US $16 million, but on March 20 he announced he had agreed to terms on a seven-year, $36.6 million contract with the Oakland Raiders, the same team he had helped rout in the Super Bowl in early 2003. He started all 16 games in his first season in Oakland, splitting time at defensive end and defensive tackle, recording 30 tackles (18 solo) and 2.5 sacks and recovering two fumbles after having lost an estimated 20 pounds before joining the Raiders for the 2004 season. His 2005 season got off to a great beginning back in his familiar defensive tackle position. He started the first ten games of the season with 29 tackles (26 of them solo), and finished second on the team to Derrick Burgess with five sacks before being sidelined for the last six games of 2005 with a shoulder injury. He returned to his All-Pro form in 2006. He had 10 sacks to go along with 32 tackles (16 solo) and one forced fumble. 2007 He lost 49 lb before the 2007 season, and recorded 37 tackles (24 solo), 2 sacks and 2 forced fumbles. On December 23, 2007, Sapp got ejected after an altercation with the officials near the end of the second quarter of the Raiders' game at Jacksonville. The incident began when linesman Jerry Bergman mistakenly assumed that the Raiders would decline a ten-yard Jaguar penalty. Sapp, the defensive captain, shot back at referee Jerome Boger, that the Raiders wanted to accept the penalty. The conversation became heated, with Sapp gesturing and swearing, provoking Boger to flag him for unsportsmanlike conduct. But Sapp and the rest of the Raider defense continued to mouth off at the officials, resulting in a second unsportsmanlike against Sapp and a third unsportsmanlike against teammate Derrick Burgess. Finally, the coaches ran onto the field and, along with the officials, began physically separating the disgruntled players. Boger claimed that Sapp had "bumped" him in the process, while Sapp denied any physical contact. In any event, Boger then levied a third unsportsmanlike conduct penalty against Sapp (fourth against the team) and ejected him. The league eventually fined him $75,000, and Burgess $25,000 (i.e., $25,000 for each unsportsmanlike penalty). On January 3, 2008, Sapp told Raider owner Al Davis over the phone that he would retire and confirmed this on his website qbkilla.com in just two words: "I'M DONE!" The retirement became official on March 4, 2008. Legacy At the time of his retirement, Sapp was one of only twelve defensive players in NFL history to make the Pro Bowl, be named Defensive Player of the Year and win a Super Bowl or pre-Super Bowl NFL title. The others are Mean Joe Greene, Jack Lambert, Mel Blount, Lester Hayes, Mike Singletary, Lawrence Taylor, Bob Sanders, Deion Sanders, Reggie White, Ray Lewis, Rod Woodson, and Sapp's former teammate, Derrick Brooks. Michael Strahan, James Harrison, Ed Reed, Troy Polamalu, Charles Woodson, Terrell Suggs, Stephon Gilmore, and Aaron Donald have since joined the list. He is now considered to be the prototype three-technique defensive tackle, and ever since his retirement NFL teams scouting defensive tackles have reportedly been looking for a "Baby Sapp". He was selected to seven Pro Bowls, was named a first-team All-Pro four times and a second-team All-Pro twice, voted to the 1990s and 2000s All-Decade Teams, and earned Defensive Player of the Year honors after a 12.5-sack season in 1999. NFL career statistics Personal life In January 1998, Sapp married Jamiko Vaughn. The couple had two children, daughter Mercedes in 1998 and Warren Carr II in 2000. Activities Sapp, Devin Bush and a developer created an Urban Solutions Group in 2006 to construct low-income housing in Fort Pierce, Florida. The PNC Bank loaned the group money, but by 2008 the real estate market tanked and the project ended in failure. On August 19, 2008, Sapp was hired as a studio analyst for Inside the NFL on Showtime, a position he held until 2011. In the fall of 2008, Sapp appeared as a contestant on the seventh season of Dancing With The Stars. Sapp's partner for the competition was professional dancer Kym Johnson; the pair made it to the finals where they were eventually named runner-up of season 7. He made his stand-up comedy debut at the Comedy Central Roast of Larry the Cable Guy on March 16, 2009. He worked for NFL Network as an analyst featured on NFL Total Access and NFL GameDay Morning until he was fired in 2015 following his arrest for solicitation. In the summer of 2012 he released a book titled Sapp Attack through St. Martins Publishing. In June 2012, Sapp teamed up with the NOC (Network Of Champions), a YouTube premium content channel, to produce a TV show series called "Judge Sapp". He also participated in Fox's dating game show The Choice. In January 2013, Sapp worked with Dr. Jonathan Greenburg to raise awareness about the importance of getting tested and treated for snoring and obstructive sleep apnea. He was also a celebrity judge on the second season of the reality show BBQ Pitmasters. On July 27, 2016, Sapp was bitten by a shark while lobstering off the coast of Florida. In October, 2020 the internet sportsbook BetUS announced Warren Sapp and Brian Jones as the hosts of the weekly podcast "BetUS Unfiltered". Sapp and Jones have interviewed celebrities such as Derrick Johnson, Adam Schefter, Ray Lewis, Kevin Carter, Rick Neuheisel, and Jen Welter on the podcast. Legal troubles On February 7, 2010, Sapp was arrested in South Florida and charged with domestic battery while in Florida as an analyst for the NFL Network's coverage of Super Bowl XLIV, but following the arrest the NFL Network cancelled his appearance. On March 24, however, the charges against Sapp were dropped. On February 2, 2015, the day after Super Bowl XLIX, Sapp was arrested on suspicion of soliciting a prostitute and assault. Later that day it was revealed Sapp's contract had been terminated by the NFL Network. In May 2015 the charges were dismissed. Bankruptcy In 2010, PNC bank was awarded a judgment of $988,691.99, and in December 2011 filed a monthly lien of $33,333 against Sapp's $45,000 NFL Network paycheck. He also owed the Internal Revenue Service $853,003 from income in 2006 and $89,775 for 2010. He was $876,000 behind on alimony and child support for his former spouse, owed $68,738 for unpaid property taxes in Windermere and owed money to attorneys, friends and a speech therapist as well. On April 7, 2012, the Associated Press reported that Sapp had filed for bankruptcy in an effort to discharge debt from failed businesses. In these Chapter 7 filings, he claimed to have lost his University of Miami championship rings and his Buccaneer Super Bowl ring. The balance in his checking and savings accounts was said to be less than $1,000. He claimed no credit card debt and owns no automobiles, but owes National Car Rental $90,685 through his business, Nine-Nine LLC. Court filings indicated Sapp's assets totaled $6.45 million against a debt of $6.7 million. His monthly income was reported as $115,861. On November 1, 2012, Sapp's house in Windermere was auctioned off and sold for $2.9 million. Explanatory notes References External links 1972 births Living people African-American players of American football All-American college football players American football defensive ends American football defensive tackles Dr. Phillips High School alumni Miami Hurricanes football players National Conference Pro Bowl players National Football League announcers National Football League Defensive Player of the Year Award winners National Football League players with retired numbers Oakland Raiders players Participants in American reality television series Players of American football from Orlando, Florida Pro Football Hall of Fame inductees Sportspeople from Orange County, Florida Tampa Bay Buccaneers players
false
[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Exile (American band)", "1970s - First chart success" ]
C_25a4a885ca4e4de2936ded332d7961ab_0
What did Exile do in the 1970"s?
1
What did the American band Exile do in the 1970s?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
They shortened their name to Exile in 1973
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "Relegatio (or relegatio in insulam) under Roman law was the mildest form of exile, involving banishment from Rome, but not loss of citizenship, or confiscation of property. It was a sentence used for adulterers, those that committed sexual violence or manslaughter, and procurers. \n\nA notable victim of relegatio was Ovid.\n\nOrigins\nUnder the early Republic, citizens could be cut off from the community – fire and water – by the . To forestall this, they sometimes went into voluntary exile (exilium), where citizenship might be maintained or lost but property would normally be retained. By contrast, relegatio was mainly employed to expel foreigners from Rome: only under the late Republic did it begin to be applied to political figures within Rome.\n\nUnder the empire\nThe emperors made relegatio one of their main weapons of banishment, alongside deportatio. Relegatio might be for a specific period or for life; it might be to a fixed spot, or simply outside Rome or Italy. The exile could take place in any isolated place, not necessarily an island. Tacitus describes how one senator \"chose the famous and agreeable island of Lesbos for his exile\". In any case, it remained a softer penalty than the alternative of deportatio, which generally entailed loss of citizenship and property as well as banishment to a specific spot. A relegatio sentence was often only temporary and once the sentenced was pardoned, they could return to Rome.\n\nThe poet Ovid was exiled under relegatio to Constanța, in what is modern-day Romania. In his writing, he never clearly stated what caused this exile. Ovid in his exile made play of the fact that he remained a citizen in charge of his property in Rome, though he was unable either to have his relegatio rescinded or his exile switched to a more pleasant spot. By contrast, Juvenal (at least in Gilbert Highet’s reconstruction) was subjected to deportatio; and though his sentence was eventually repealed he returned to Rome a ruined man.\n\nUnder the later empire, jurists set up a hierarchy of banishments: temporary relegatio, then permanent relegatio, relegatio to an island or fixed spot, and finally deportatio.\n\nCultural echoes\nEpictetus praised a stoic senator who heard he had been condemned in his absence: \"'To exile', says he, 'or to death?' – 'To exile' – 'What about my property?' – 'It has not been confiscated' – 'Well then, let us go to Arica [first stop outside Rome] and take our lunch there'\".\n\nSee also\nDamnatio memoriae\n\nReferences\n\nExternal links\n Exsilium\n\nAncient Roman exiles\nRoman law\nExile\nCrime and punishment in ancient Rome", "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973" ]
C_25a4a885ca4e4de2936ded332d7961ab_0
DId they release any albums that year?
2
Did the band Exile release any albums in 1973?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
released their eponymous debut album through Wooden Nickel Records
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "World Famous Classics: 1993–1998 is the first of three greatest hits albums by hip hop group The Beatnuts. It was released by Sony BMG in 1999 two weeks after the release of The Beatnuts' most commercially successful album, A Musical Massacre. It contains songs from The Beatnuts' first three albums, as well as its two EPs. The album does not feature any exclusive songs. World Famous Classics did not chart upon release, and is currently out of print.\n\nTrack listing\n\nReferences\n\nThe Beatnuts albums\n1999 greatest hits albums", "American Highway Flower is the second album by the alternative rock group dada. It was released in September 1994 on I.R.S. Records. While not nearly as successful as their debut single \"Dizz Knee Land\", the lead single taken from American Highway Flower, titled \"All I Am\", did experience some success upon release and charted at number 27 on the Billboard Modern Rock chart in 1994. That same year, promotional singles for \"Feet To The Sun\" and \"Feel Me Don't You\" were released to radio stations, but they failed to make any significant impact. On July 13, 2004, the album was reissued with bonus tracks by Blue Cave Records.\n\nTrack listing\n1994 I.R.S. Records Edition (Original Release)\n\"Ask The Dust\"\n\"Feet To The Sun\"\n\"All I Am\"\n\"Scum\"\n\"Pretty Girls Make Graves\"\n\"Gogo\"\n\"Feel Me Don't You\"\n\"Real Soon\"\n\"S.F. Bar '63\"\n\"8 Track\"\n\"Green Henry\"\n\"i\"\n\"Heaven And Nowhere\"\n\n2004 Blue Cave Records Edition (Reissued Release)\n\"Ask The Dust\"\n\"Feet To The Sun\"\n\"All I Am\"\n\"Scum\"\n\"Pretty Girls Make Graves\"\n\"Gogo\"\n\"Feel Me Don't You\"\n\"Real Soon\"\n\"S.F. Bar '63\"\n\"8 Track\"\n\"Green Henry\"\n\"i\"\n\"Heaven And Nowhere\"\n\"I'm Feeling Nothing\" [Bonus Track]\n\"Little Insister\" [Bonus Track]\n\"All American Suicide\" [Bonus Track]\n\nReferences\n\n1994 albums\nDada (band) albums\nI.R.S. Records albums" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records" ]
C_25a4a885ca4e4de2936ded332d7961ab_0
Was the album successful?
3
Was Exile's debut album successful?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
Singles released from the album proved unsuccessful,
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "Maria Arredondo is the first album by Norwegian singer Maria Arredondo, released in Norway on March 17, 2003, with a second edition released on June 30, 2003. The album was the most successful album by Arredondo either in critics or sales. It has 12 songs with the second edition and 5 singles were released. One of the singles, \"In Love With An Angel\", a duet with Christian Ingebrigtsen, was nominated for the 2003 Norwegian Grammy Awards as 'Song Of The Year'.\n\nHistory \nAfter two years recording the songs, Arredondo signed with Universal Music Norway. The album entered the Norwegian Top 40 and Norwegian Topp 30 Norsk at #2 and spent 23 weeks on the charts. It was recorded in Sweden and Norway, and was produced by several well-known Scandinavian producers such as Jonas von Der Burg, Espen Lind, Bluefish, Jonny Sjo, Harry Sommerdahl and Bjørn Erik Pedersen. Several successful songwriters also contributed, including Christian Ingebrigtsen, Jonas von Der Burg, Silje Nergaard, Espen Lind and Harry Sommerdahl. The first single released was \"Can Let Go\". The second single, \"Just A Little Heartache\" was very successful in the radio charts. \"In Love With An Angel\" was the third single and became the first and only #1 single for Arredondo.\n\nThe album was re-released with a new song, \"Hardly Hurts At All\", which was released as a single. The last single from the album was \"A Thousand Nights\". The album went platinum and sold more than 70,000 copies.\n\nTrack listing\n\nCharts\n\nAlbum\n\nSingles\n\nReferences \n\n2003 debut albums\nMaria Arredondo albums\nUniversal Music Norway albums", "Black and White is the second studio album and major label debut by British hip hop recording artist Wretch 32. The album was released in the United Kingdom on 21 August 2011 through Ministry of Sound, debuting at number four on the UK Albums Chart with first week sales of nearly 25,000 copies. The album follows his independent debut album, Wretchrospective, which was released three years earlier, in 2008. The album spawned six singles over the course of eighteen months, all of which peaked inside the UK top 50, including three top five singles, and a number one single, \"Don't Go\". The album includes collaborations with Ed Sheeran, Daley, Etta Bond and Example.\n\nSingles\n \"Traktor\" was released as the first single released from the album on 16 January 2011. It peaked at number five on the UK Singles Chart, becoming the third most successful single from the album. The track features vocals from L Marshall and was produced by Yogi.\n \"Unorthodox\" was released as the second single from the album on 17 April 2011. It peaked at number two on the UK Singles Chart, becoming the second most successful single from the album. The track features vocals from Example.\n \"Don't Go\" was released as the third single from the album on 14 August 2011. It peaked at number one on the UK Singles Chart, becoming the album's most successful single. The track features vocals from upcoming musician and songwriter Josh Kumra.\n \"Forgiveness\" was released as the fourth single from the album on 11 December 2011. It peaked at number 39 on the UK Singles Chart, becoming the least successful single from the album. The track features vocals from Etta Bond, and was produced by Labrinth.\n \"Long Way Home\" was released as a single from the album on 14 February 2012, in promotion of the track's featuring artist, Daley. It was ineligible to chart on the UK Singles Chart, and was simply released in the form of a promotional music video.\n \"Hush Little Baby\" was released as the fifth and final single from the album on 27 May 2012. It peaked at number 35 on the UK Singles Chart, due to little promotion. The track features vocals from singer-songwriter Ed Sheeran.\n\nTrack listing \n\nNotes\n \"Forgiveness\" features uncredited vocals from Labrinth.\n\nSample credits\n \"Black and White\" samples \"Different Strokes\" by Syl Johnson\n \"Unorthodox\" samples \"Fools Gold\" by The Stone Roses.\n \"Hush Little Baby\" adapts lyrics from the lullaby \"Hush, Little Baby\".\n\nCharts\n\nRelease history\n\nReferences\n\n2011 albums\nWretch 32 albums\nMinistry of Sound albums\nAlbums produced by Labrinth" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful," ]
C_25a4a885ca4e4de2936ded332d7961ab_0
What was some of the names of Exiles singles?
4
What were some of the names of Exiles singles?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
In 1977, the band released the single "Try it On
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "Exiles is the name of multiple comic book titles featuring the team Exiles and published by Marvel Comics, beginning with the original Exiles comic book series which debuted in 2001.\n\nPublication history\n\nExiles volume 1\nExiles was created by Mike Marts, Mike Raicht, Judd Winick and also artists Mike McKone and Jim Calafiore. Exiles was created after a period of development aimed at creating a new What If? book for Marvel. In an interview Raicht speaks of the Exiles' early origins: \"We were eventually going to visit some alternate realities and flesh out some stories. We were attempting to give the readers a What If? X-Men book. Eventually that idea shifted into a Quantum Leap type thing where Blink, Morph, and maybe Sabretooth from the Age of Apocalypse would join some other heroes, most likely from the Millennial Visions books, to form a reality-hopping super team that righted wrongs.\"\n\nRaicht and Winick would develop the initial formula of Exiles''' reality-hopping adventures. Chuck Austen came aboard as interim writer after Winick's move to DC Comics. Tony Bedard took over, writing roughly half the series, from #46-89. Chris Claremont came onboard as of issue #90 and ended the series with the crossover X-Men: Die by the Sword.\n\nA number of artists have penciled the series including Mike McKone, Jim Calafiore, Kev Walker, Clayton Henry, Mizuki Sakakibara, Casey Jones, Steve Scott, Paul Pelletier, and Tom Mandrake.\n\nCyriaque Lamar of io9 described the storyline involving King Hyperion's dead planet to be one of \"The 10 Most Depressing Alternate Realities From Marvel Comics\".\n\nNew Exiles\nChris Claremont restarted the series in March 2008 as New Exiles, after the crossover X-Men Die by the Sword. New Exiles #1 sold out prompting Marvel to release New Exiles #0 which collected Exiles #100 and Exiles: Days of Then and Now. New Exiles ran for 18 issues before being canceled.\n\nTom Grummett, Roberto Castro, Paco Diaz, and Tim Seeley worked on as artists on New Exiles.\n\nExiles volume 2\nA few months after New Exiles was cancelled, the series was restarted again with a second volume of Exiles. Writer Jeff Parker and artist Salvador Espin relaunched the series with a new #1 in April 2009, but the book was canceled after only six issues.\n\nExiles volume 3\nA third series was launched as part of Marvel Legacy, written by Saladin Ahmed joined by the art team of Javier Rodriguez, Alvaro Lopez, and Jordie Bellaire and Joe Caramagna. The man once known as Nick Fury recruits champions from alternate universes when a mysterious threat casts its shadow on the multiverse. A different Blink will be joined by a Kamala Khan from a post-apocalyptic reality, Iron Lad, Wolvie and Valkyrie in her journey to save the multiverse. The team is later joined by Peggy Carter as the Captain America of her universe, and a reality-reincarnated female version of Bucky Barnes.Exiles (2018) #8-12\n\nCollected editions\nThe series have been collected into trade paperbacks:\n\nExilesVolume 1: Down the Rabbit Hole (paperback, , collects Exiles #1–4)Volume 2: A World Apart (paperback, , collects Exiles #5–11)Volume 3: Out of Time (paperback, , collects Exiles #12–19)Volume 4: Legacy (paperback, , collects Exiles #20–25)Volume 5: Unnatural Instincts (paperback, , collects Exiles #26–30 and Exiles story from X-Men Unlimited #41)Volume 6: Fantastic Voyage (paperback, , collects Exiles #31–37)Volume 7: A Blink in Time (paperback, , collects Exiles #38–45)Volume 8: Earn Your Wings (paperback, , collects Exiles #46–51)Volume 9: Bump in the Night (paperback, , collects Exiles #52–58)Volume 10: Age of Apocalypse (paperback, , collects Exiles #59–61 and Age of Apocalypse Handbook 2005)Volume 11: Timebreakers (paperback, , collects Exiles #62–68)Volume 12: World Tour Book 1 (paperback, , collects Exiles #69–74)Volume 13: World Tour Book 2 (paperback, , collects Exiles #75–83)Volume 14: The New Exiles (paperback, , collects Exiles #84–89 and Annual #1)Volume 15: Enemy of the Stars (paperback, , collects Exiles #90–94)Volume 16: Starting Over (paperback, , collects Exiles #95–100 and Exiles: Days of Then and Now)X-Men: Die by the Sword (March 2008, )\n\nThe series is currently being collected in an Ultimate Collection series of trade paperbacks:\n\nExiles Ultimate CollectionBook 1 (paperback, , collects Exiles #1–19)Book 2 (paperback, , collects Exiles #20–37 and Exiles story from X-Men Unlimited #41)Book 3 (paperback, , collects Exiles #38–58)Book 4 (paperback, , collects Exiles #59–74 and the Age of Apocalypse Handbook 2005)Book 5 (paperback, , collects Exiles #75–89 and the Exiles Annual #1)Book 6 (paperback, , collects Exiles #90–100, Exiles: Day of Then and Now, and X-Men: Die By the Sword #1-5)New Exiles have been collected into the following trade paperbacks:\n\nNew ExilesVolume 1: New Life, New Gambit (paperback, , collects New Exiles #1–6)Volume 2: Soul Awakening (paperback, , collects New Exiles #7–12)Volume 3: The Enemy Within (paperback, , collects New Exiles #13–15 and Annual #1)Volume 4: Away We Go (paperback, , collects New Exiles #16–18 and X-Men: Sword of the Braddocks)\n\nExiles (2009)Exiles (2009) have been collected into the following trade paperback:Exiles (2009):Exiles: Point Of No Return (paperback, , collects Exiles'' (2009) #1–6)\n\nReferences\n\n2001 comics debuts\nMarvel Comics titles\nX-Men titles", "Exiles and New Exiles were comic book series which featured an ensemble cast of Marvel Comics characters. Exiles vol. 1 featured the fictional teams of the eponymous Exiles and rival Weapon X, both of which had a revolving cast, most often rotating under the plot device of character death. The characters were either previous established or new re-imagings of established characters.\n\nFounding members\n\nReplacements\n\nWeapon X, Wolverines, Quentin Quire, and other teams\nWeapon X was an alternate, more violent team recruited by the Timebroker to deal with more gruesome missions. After the Timebreakers fired the original Exiles Team, they gathered multiple squads consisting solely of alternate versions of Wolverine. The last Wolverine squad was formed in Exiles #85 and consisted the members listed below. Another team led by Quentin Quire was created by Blink to fix a world where heroes had died but this time was left in one dimension and was never meant to travel through other. Finally, several teams were shown in Exiles (vol 3) #6 but responded to other Timebrokers.\n\nWeapon X\n\nWolverine squads\n\nThe mission of these Wolverine Teams was to eliminate the Brother Mutant, but Brother Mutant captured and hypnotized them. Finally, the last Wolverine team manages to kill the Brother Mutant, with the help of the first Exiles team. In the end, seventeen Wolverines perished during the fight. James Howlett was the only member sent home.\n\nQuentin Quire's Exiles\n\nTheir mission was to save Quentin's world by replacing heroes who had died.\n\nOther teams (Exiles #6)\nVery First team: Kang the Conqueror, Silver Surfer, Iron Man, Daredevil, Spider-Man, The Thing, later on an overweight Colossus, a male and female Sentry, a male and female Quentin Quire, Archangel and Prodigy.\nCaptain America, Wolverine, Spider-Man, The Hulk, two unknown members. Timebroker: Impossible Man\nMODOK, The Lizard, Deadpool, Venom, Selene, one unknown member. Timebroker: Mojo\nThe Thing, Namor, four unknown members. Timebroker: Howard the Duck\nMatch, Icarus, two unidentified members, two unknown members. Timebroker: Silver Surfer\n\nExiles vol. 2 recruits\n\nExiles vol. 3 recruits\n\nOther characters\nIn Exiles there has been a number of other characters including special heroes and villains; some of them are even significant in more than one reality and/or story.\n\nLine-ups\nThe Exiles' line-up is known to change quite often, here is a list of its various compositions:\nBy issue number\n\nSee also\nExiles\n\nReferences\n\nExile" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful,", "What was some of the names of Exiles singles?", "In 1977, the band released the single \"Try it On" ]
C_25a4a885ca4e4de2936ded332d7961ab_0
Did they release any songs that was top charters?
5
Did the band Exile release any songs that topped the charts?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "Lightnin' Hopkins (re-released as The Roots of Lightnin' Hopkins) is an album by blues musician Lightnin' Hopkins, recorded in 1959 and released on the Folkways label. The album was first released around the time that the book The Country Blues came out and was an instant success. It gave Hopkin's career a new lease on life.\n\nReception\n\nAllMusic reviewer Thom Owens stated: \"Upon its initial release, it was a pivotal part of the blues revival and helped re-spark interest in Hopkins. Before it was recorded, the bluesman had disappeared from sight; after a great deal of searching, Sam Charters found Hopkins in a rented one-room apartment in Houston. Persuading Lightnin' with a bottle of gin, Charters convinced Hopkins to record ten songs in that room, using only one microphone. The resulting record was one of the greatest albums in Hopkins' catalog, a skeletal record that is absolutely naked in its loneliness and haunting in its despair. These unvarnished performances arguably capture the essence of Lightnin' Hopkins better than any of his other recordings, and it is certainly one of the landmarks of the late-'50s/early-'60s blues revival\".\nThe Penguin Guide to Blues Recordings awarded the album three stars stating \"'Exciting' may not be the word everyone would choose to describe this intimate, unplugged performance, but it was greeted on its original release with considerable enthusiasm, a response moulded by interpretation of the blues as folk music, suspicion of electric guitars, and other views current in the '50s and '60s among the sort of people who bought Folkways albums. It remains an estimable record\".\n\nRe-release\n\nThe album was released in the UK by Verve Folkways as VLP 5003 (mono) and SVLP 5003 (stereo) in 1965 as The Roots of Lightnin' Hopkins and re-released in 1972 by Transatlantic Records (XTRA 1127). In 1990, it was re-released on CD under the title Lightnin' Hopkins by Smithsonian/Folkways (SF 40019), and distributed by Rounder Records. The CD was produced by Matt Walters, remastered by Doug Sax and Alan Yoshida at The Mastering Lab in Hollywood, California, and printed in Canada. As cover design the original Folkways LP's artwork by Ronald Clyne with a photograph taken by Samuel B. Charters was used. Charters also wrote the sleeve notes for the CD at the Mansfield Centre, Conn. 1990.\n\nTrack listing\nAll compositions by Sam \"Lightnin'\" Hopkins except where noted\n \"Penitentiary Blues\" (Traditional) – 2:45\n \"Bad Luck and Trouble\" (Hopkins, Mack McCormick) – 3:40\n \"Come Go Home With Me\" (Hopkins, McCormick) – 3:45\n \"Trouble Stay 'Way from My Door\" – 4:00\n \"See That My Grave Is Kept Clean\" (Blind Lemon Jefferson) – 2:05\n \"Goin' Back to Florida\" – 3:10\n \"Reminiscenses of Blind Lemon\" – 2:10\n \"Fan It\" – 2:40\n \"Tell Me, Baby\" – 2:30\n \"She's Mine\" – 4:10\n\nPersonnel\n\nPerformance\nLightnin' Hopkins – guitar, vocals\n\nProduction\n Samuel Charters – supervision, engineer\n\nReferences\n\nLightnin' Hopkins albums\n1959 albums\nFolkways Records albums", "The New Folk Sound of Terry Callier is the 1968 debut album from American folk and soul performer Terry Callier, released on Prestige Records. The album has received positive reviews from critics.\n\nRecording and release\nCallier started recording as a teenager for Chess Records in 1962 but did not record an album for the first two years he was a professional musician. The album was recorded by Samuel Charters, who courted Callier to come to Prestige in 1964 but after the sessions, he ran off to Mexico, delaying the actual album release from 1965 to 1968. Callier did not even know the album was released until his brother saw it for sale in a book store. Craft Recordings released a 50thanniversary edition on November 2, 2018.\n\nCritical reception\nThe editorial staff of AllMusic Guide gave the release four out of five stars, with Jason Ankeny writing that the album is not Callier's best but \"it's his most timeless and inviting\". Remarking on the 50thanniversary edition, Charles Donovan of PopMatters calls the original \"a terrific album\" and the re-release \"stunning\".\n\nTrack listing\nAll songs are traditional compositions, except where noted\n\"900 Miles\"– 5:05\n\"Oh Dear, What Can the Matter Be\"– 2:50\n\"Johnny Be Gay If You Can Be\"– 4:20\n\"Cotton Eyed Joe\"– 5:25\n\"It's About Time\" (Rent Foreman, Lydia Wood)– 3:25\n\"Promenade in Green\"– 4:00\n\"Spin, Spin, Spin\" (Foreman)– 3:05\n\"I'm a Drifter\" (Travis Edmonson)– 8:50\n\n2018 bonus tracks\n\"Jack O’Diamonds\"\n\"Golden Apples of the Sun\"\n\"Promenade in Green\" (Take 1)\n\"Be My Woman\" (Take 1)\n\"900 Miles\" (Take 1)\n\"It’s About Time\" (Take 2)\n\"Oh Dear, What Can the Matter Be\" (Take 2)\n\nPersonnel\nTerry Callier– guitar, vocals\nTerbour Attenborough– upright bass\nPaul Blakemore– mastering on anniversary edition\nSamuel Charters– production\nRay Flerlage– photography\nRent Foreman– liner notes\nRyan Jebavy– editing on anniversary edition\nSage LaMonica– design on anniversary edition\nChris Popham– design\nDon Schlitten– design\nJohn Tweedle– upright bass\nJason P. Woodbury– liner notes in anniversary edition\nMason Williams– production on anniversary edition\n\nReferences\n\nExternal links\n\nEntry at Rate Your Music\n\n1968 debut albums\nAlbums produced by Samuel Charters\nPrestige Records albums\nTerry Callier albums" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful,", "What was some of the names of Exiles singles?", "In 1977, the band released the single \"Try it On", "Did they release any songs that was top charters?", "The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40" ]
C_25a4a885ca4e4de2936ded332d7961ab_0
Did they release any other albums after the first one didn't do so great?
6
Besides their first album, did the band Exile release any other albums after the first one didn't do so great?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
CANNOTANSWER
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "Words from the Genius is the debut studio album by the American rapper GZA, under his previous stage name \"The Genius\". The album never charted, and GZA went on to co-found the Wu-Tang Clan in 1992 after the album's failure.\n\nAlbum background\nIt was released on February 19, 1991. It is significant as one of the few albums released by a Wu-Tang Clan member before the founding of the group in late 1992 and only one of two pre- Wu-Tang clan releases any of the members recorded with a major label (the other is Ooh, I Love You, Rakeem EP by Prince Rakeem (RZA).\n\nAlbum re-release\nIt was re-released in 1994, with the song \"Come Do Me\" replaced by \"Pass the Bone.\" Both versions are now out of print. In 2006, an expanded version was released by Traffic Entertainment Group, the owner of the bulk of the Cold Chillin' Records catalog.\n\n\"I was signed to Cold Chillin' 'bout five years ago,\" GZA recalled in 1995. \"They put out an album but didn't promote it. They tried to put it out again last year after everything happened with the Clan, put a '94 date on it, but still didn't put any money behind it, so it didn't sell twice. I'm still proud of it, though. The beats ain't all that but, lyrically, shit was bangin'. So it wasn't all peaches and cream, but I was determined to break through. 'A quitter never wins, and a winner never quits.'\"\n\nTrack listing\n\nReferences\n\n1991 debut albums\nGZA albums\nAlbums produced by Easy Mo Bee\nAlbums produced by RZA\nCold Chillin' Records albums", "Hollinndagain is the first live album and second collaborative album by Avey Tare, Panda Bear and Geologist, released in 2002 on the label St. Ives. It was later retroactively classified as the first live album by their band Animal Collective.\n\nOnly 300 copies were initially made; each and every copy featured a unique cover, handmade by the band themselves. For several years it was a vinyl-only release; Animal Collective's own label, Paw Tracks, re-released the album on October 31, 2006, on both CD and vinyl. Although Hollinndagain is a live album, the group regard it as their third official album because it contained all new material at the time it was released, except \"Lablakely Dress\" which previously appeared on Danse Manatee. The title is garbled Icelandic for \"Palace of the Day\".\n\nBackground\nHollinndagain is a collection of live material from around the time of the band's second album, Danse Manatee. The first three songs were recorded during a performance on New Jersey radio station WFMU; the final four were culled from live shows in New York, Nashville and Austin with Black Dice in the summer of 2001.\n\nGeologist discussed the creation of sounds for Hollinndagain on the Collected Animals message board :\n\n\"We didn't use any samplers, just minidiscs. And we've only ever had 2 synths used in Animal Collective, the Roland SH-2 and the Juno-60. We were using both on that material back then… we used lots of pedals and effects processors too and made feedback loops.”\n\nGeologist also explained why Hollinndagain material never made it to the studio on the Collected Animals message board.:\n \"i don't know if i remember the events well enough to point out a moment that would answer that. in my memory it just kind of happened that way. st. ives asked us to do one of their limited lp's and we had never done any studio versions of those songs so we decided to release those live versions because we thought they were sweet sounding, and did the songs justice. the wfmu radio session sounded great to us after we did it so that was a no brainer. as for why we never did studio versions of those songs, that i'm fuzzy about. we were playing them at shows around nyc for the first half of 2001, which was also the time we were recording and mixing danse manatee. so the hollindagain jams took up our live time and the danse manatee jams took up our recording time. i sort of remember some talk of recording pride fight and forest gospel and releasing an ep with those 2 and forest children risen and ahh good country. all four of those used similar styles of playing the acoustic guitar in a percussive way so they seemed to fit together in our heads. but that talk didn't go anywhere i guess. then we did the dice tour, and after that i took off to travel for the summer and when i got back we decided to start playing with all four of us there and just started working on new material. so the hollindagain songs just kind of left our minds and we never got around to them. the era seemed to have ended. the st. ives offer came after we had already started writing here comes the indian, and we thought it was a shame we never recorded or released any hollindgain jams so it offered us a sweet opportunity to do it.\"\n\n\"Pride and Fight\" was later re-worked for live performances in 2016 and 2017.\n\nTrack listing\n\nReferences \n\nAnimal Collective albums\nNew Weird America albums\n2002 live albums" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful,", "What was some of the names of Exiles singles?", "In 1977, the band released the single \"Try it On", "Did they release any songs that was top charters?", "The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40", "Did they release any other albums after the first one didn't do so great?", "I don't know." ]
C_25a4a885ca4e4de2936ded332d7961ab_0
What was the name of the album?
7
What was the name of the band Exile's second album?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
Mixed Emotions
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
true
[ "White Witch is the title of the second studio album by the group Andrea True Connection. It was released in 1977. The album had two singles: and \"N.Y., You Got Me Dancing\" and \"What's Your Name, What's Your Number\". This was the last album released by the group and the vocalist Andrea True would release a new album as a solo release only in 1980.\n\nBackground and production\nAfter the success of her first album and the gold-certified single More, More, More, the band begun to prepeare for their second release. The album production included studio musicians with a new band assembled for the tour, the second line-up, which included future Kiss guitarist Bruce Kulick, it was also produce by the disco pioneers Michael Zager and Jerry Love.\n\nSingles\nThe first single of the album was \"N.Y., You Got Me Dancing\", it was released in 1977 and became True's second biggest hit, reaching No. 27 on Billboard's pop chart, and #4 on the U.S. club chart, it also peaked #89 in the Canadian RPM's chart. \"What's Your Name, What's Your Number\" was released as the second and last single of the album (and also of the group) in 1978 and reached #9 on the U.S. club chart, #34 in the UK and #56 on the Billboard Hot 100\n\nCritical reception\n\nThe album received mixed reviews from music critics. Alex Henderson from the Allmusic website gave the album two and a half stars out of five in a mixed review which he wrote that \"while White Witch isn't a bad album, it falls short of the excellence her first album, More, More, More.\" He also stated that there are a few gems in the album \"including the Michael Zager-produced \"What's Your Name, What's Your Number\" and the exuberant, Gregg Diamond-produced \"N.Y., You Got Me Dancing\"\" according to him they're both \"exercises in unapologetically campy fun.\" He concluded that the album \"LP is strictly for diehard disco collectors.\"\n\nTrack listing\nsource:\n\nReferences\n\n1977 albums\nAndrea True albums\nBuddah Records albums", "Third Eye Open is a 1992 album by American funk/rock supergroup Hardware. Hardware consists of lead guitarist Stevie Salas, P-Funk bassist Bootsy Collins, and drummer Buddy Miles, formerly of the Band of Gypsys. The album was produced by Bill Laswell and Salas, and was the first release to be part of Laswell's Black Arc Series, which includes Lord of the Harvest by Zillatron, Out of the Dark by O.G. Funk, and Under the 6 by Slave Master.\n\nAlbum history\nWhen the album was first released in Japan on the Polystar label, the band was called The Third Eye and the name of the album was \"Hardware\". When the album secured distribution in the U.S., it was found that another band had owned the name \"The Third Eye\". To avoid any further legal hassles, it was opted that the title of the album and the name of band would simply be switched, thus the name of the band would be Hardware and the title of the album became Third Eye Open.\n\nThe song \"Leakin'\" is a version of a track that appeared on Collins' 1988 album What's Bootsy Doin'?, which featured Salas playing guitar. On this album, the song is credited to Salas, whereas the previous version is credited to Collins, George Clinton and Trey Stone.\n\nTrack listing\n\nPersonnel\nStevie Salas – guitars, vocals\nBootsy Collins – space bass, vocals\nBuddy Miles – drums, fuzz bass, vocals\nGeorge Clinton, Gary \"Mudbone\" Cooper, Bernard Fowler – background vocals\nDavid Friendly, Vince McClean, Matt Stein – digital bollocks\n\nHardware (band) albums\n1992 albums\nAlbums produced by Bill Laswell\nRykodisc albums" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful,", "What was some of the names of Exiles singles?", "In 1977, the band released the single \"Try it On", "Did they release any songs that was top charters?", "The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40", "Did they release any other albums after the first one didn't do so great?", "I don't know.", "What was the name of the album?", "Mixed Emotions" ]
C_25a4a885ca4e4de2936ded332d7961ab_0
What year did they release the album?
8
What year did the band Exile release the album Mixed Emotions?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
1978.
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
true
[ "\"What I Did for Love\" is a song from the musical A Chorus Line (music by Marvin Hamlisch, lyrics by Edward Kleban). It was quickly recognized for its show-business potential outside Broadway and was picked up by popular singers to include in their performances in their club and television appearances. Both female and male singers have made it an inclusion in their recorded albums to great effect. The Daily Telegraph described it as a \"big anthem\".\n\nSynopsis within A Chorus Line\nIn the penultimate scene of the production, one of the dancers, Paul San Marco, has suffered a career-ending injury. The remaining dancers, gathered together onstage, are asked what they would do if they were told they could no longer dance. Diana Morales, in reply, sings this anthem, which considers loss philosophically, with an undefeated optimism; all the other dancers concur. Whatever happens, they will be free of regret. What they did in their careers, they did for love, and their talent, no matter how great, was only theirs \"to borrow,\" was to be only temporary and would someday be gone. However, the love of performing is never gone, and they are all pointed toward tomorrow.\n\nNotable versions\nBeverly Bremers' version, was released as a single in 1975.\nEydie Gormé - a single release in 1976 (US AC #23).\nBing Crosby - for his album Beautiful Memories (1977)\nEngelbert Humperdinck - for his album Miracles (1977).\nGrace Jones - for her debut album Portfolio (1977)\nJack Jones - in his 1975 album What I Did for Love (US AC #25, Canada AC #23).\nJohnny Mathis - Feelings (1975)\nBill Hayes - for his album From Me To You With Love (1976)\nMarcia Hines - see below\nPeggy Lee - for her album Peggy (1977)\nPetula Clark - a single release in 1975.\nShirley Bassey - Love, Life and Feelings (1976)\nRobert Goulet - in his album You're Something Special (1978).\nElaine Paige - included in her album Stages (1983)\nHoward Keel - for his album Just for You (1988).\nJosh Groban - for his album Stages (2015)\nMe First and the Gimme Gimmes - from their album Are A Drag (1999)\n\nMarcia Hines' version\n\nMarcia Hines recorded and released a version as the lead single from her third studio album, Ladies and Gentlemen (1977). The song peaked at number 6 on the Kent Music Report, becoming Hines' third top 10 single in Australia.\n\nAt the 1978 Australian Record Awards, the song won Hines Female Vocalist of the Year.\n\nTrack listing\n 7\" Single (MS-507)\nSide A \"What I Did for Love\" - 3:15\nSide B \"A Love Story\" (Robie Porter) - 3:31\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nSongs from A Chorus Line\n1975 songs\n1975 singles\n1977 singles\nMarcia Hines songs\nBeverly Bremers songs\nColumbia Records singles\nGrace Jones songs\nSongs written by Marvin Hamlisch", "Gloria! is the eighth studio album released by American singer-songwriter Gloria Estefan, released on June 2, 1998, by Epic Records.\n\nBackground\nGloria! is a dance and house album which was a departure from Estefan's previous works. Though dance elements had been featured in previous recordings, this was her first album to consist entirely of upbeat club music.\n\nThe album spawned four singles and one promotional single. \"Heaven's What I Feel\" was released as the first single from the album and peaked at number 27 on the Billboard Hot 100. \"Oye!\" was released as the second single from the album, however, its release as a physical single was canceled in the United States. The song peaked at number 1 on the Hot Dance Music/Club Play, Hot Latin Tracks, and the Latin Tropical/Salsa Airplay charts. \"Don't Let This Moment End\" was released as the third single from the album and peaked at number 76 on the Billboard Hot 100. In Spain, \"Cuba Libre\" was released as a fourth single and \"Don't Stop\" was released promotionally. Though they did not feature any tracks from Gloria!, the extended plays \"Bailando!\" and \"Partytime!\" were released exclusively at Target stores as a form of promotion for the album.\n\nSeveral nominations were received for the album's singles. \"Heaven's What I Feel\" received a Grammy Music Award nomination for \"Best Dance Recording\", as did \"Don't Let This Moment End\" the following year. Estefan received a Grammy nomination for \"Best Video, Long Form\" for the album's supplementary DVD Don't Stop!. Estefan received the Billboard Latin Music Award for \"Best Latin Dance Club Play Track of the Year\" for \"Oye!\" and received an Alma Award for the music video for \"Heaven's What I Feel\".\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications and sales\n\nAccolades\n\nRelease history\n\nReferences\n\n1998 albums\nGloria Estefan albums\nDance music albums by American artists\nAlbums produced by Emilio Estefan" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful,", "What was some of the names of Exiles singles?", "In 1977, the band released the single \"Try it On", "Did they release any songs that was top charters?", "The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40", "Did they release any other albums after the first one didn't do so great?", "I don't know.", "What was the name of the album?", "Mixed Emotions", "What year did they release the album?", "1978." ]
C_25a4a885ca4e4de2936ded332d7961ab_0
Was the album successful?
9
Was the album Mixed Emotions by Exile, successful?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
Singles released from the album proved unsuccessful,
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "Maria Arredondo is the first album by Norwegian singer Maria Arredondo, released in Norway on March 17, 2003, with a second edition released on June 30, 2003. The album was the most successful album by Arredondo either in critics or sales. It has 12 songs with the second edition and 5 singles were released. One of the singles, \"In Love With An Angel\", a duet with Christian Ingebrigtsen, was nominated for the 2003 Norwegian Grammy Awards as 'Song Of The Year'.\n\nHistory \nAfter two years recording the songs, Arredondo signed with Universal Music Norway. The album entered the Norwegian Top 40 and Norwegian Topp 30 Norsk at #2 and spent 23 weeks on the charts. It was recorded in Sweden and Norway, and was produced by several well-known Scandinavian producers such as Jonas von Der Burg, Espen Lind, Bluefish, Jonny Sjo, Harry Sommerdahl and Bjørn Erik Pedersen. Several successful songwriters also contributed, including Christian Ingebrigtsen, Jonas von Der Burg, Silje Nergaard, Espen Lind and Harry Sommerdahl. The first single released was \"Can Let Go\". The second single, \"Just A Little Heartache\" was very successful in the radio charts. \"In Love With An Angel\" was the third single and became the first and only #1 single for Arredondo.\n\nThe album was re-released with a new song, \"Hardly Hurts At All\", which was released as a single. The last single from the album was \"A Thousand Nights\". The album went platinum and sold more than 70,000 copies.\n\nTrack listing\n\nCharts\n\nAlbum\n\nSingles\n\nReferences \n\n2003 debut albums\nMaria Arredondo albums\nUniversal Music Norway albums", "Black and White is the second studio album and major label debut by British hip hop recording artist Wretch 32. The album was released in the United Kingdom on 21 August 2011 through Ministry of Sound, debuting at number four on the UK Albums Chart with first week sales of nearly 25,000 copies. The album follows his independent debut album, Wretchrospective, which was released three years earlier, in 2008. The album spawned six singles over the course of eighteen months, all of which peaked inside the UK top 50, including three top five singles, and a number one single, \"Don't Go\". The album includes collaborations with Ed Sheeran, Daley, Etta Bond and Example.\n\nSingles\n \"Traktor\" was released as the first single released from the album on 16 January 2011. It peaked at number five on the UK Singles Chart, becoming the third most successful single from the album. The track features vocals from L Marshall and was produced by Yogi.\n \"Unorthodox\" was released as the second single from the album on 17 April 2011. It peaked at number two on the UK Singles Chart, becoming the second most successful single from the album. The track features vocals from Example.\n \"Don't Go\" was released as the third single from the album on 14 August 2011. It peaked at number one on the UK Singles Chart, becoming the album's most successful single. The track features vocals from upcoming musician and songwriter Josh Kumra.\n \"Forgiveness\" was released as the fourth single from the album on 11 December 2011. It peaked at number 39 on the UK Singles Chart, becoming the least successful single from the album. The track features vocals from Etta Bond, and was produced by Labrinth.\n \"Long Way Home\" was released as a single from the album on 14 February 2012, in promotion of the track's featuring artist, Daley. It was ineligible to chart on the UK Singles Chart, and was simply released in the form of a promotional music video.\n \"Hush Little Baby\" was released as the fifth and final single from the album on 27 May 2012. It peaked at number 35 on the UK Singles Chart, due to little promotion. The track features vocals from singer-songwriter Ed Sheeran.\n\nTrack listing \n\nNotes\n \"Forgiveness\" features uncredited vocals from Labrinth.\n\nSample credits\n \"Black and White\" samples \"Different Strokes\" by Syl Johnson\n \"Unorthodox\" samples \"Fools Gold\" by The Stone Roses.\n \"Hush Little Baby\" adapts lyrics from the lullaby \"Hush, Little Baby\".\n\nCharts\n\nRelease history\n\nReferences\n\n2011 albums\nWretch 32 albums\nMinistry of Sound albums\nAlbums produced by Labrinth" ]
[ "Exile (American band)", "1970s - First chart success", "What did Exile do in the 1970\"s?", "They shortened their name to Exile in 1973", "DId they release any albums that year?", "released their eponymous debut album through Wooden Nickel Records", "Was the album successful?", "Singles released from the album proved unsuccessful,", "What was some of the names of Exiles singles?", "In 1977, the band released the single \"Try it On", "Did they release any songs that was top charters?", "The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40", "Did they release any other albums after the first one didn't do so great?", "I don't know.", "What was the name of the album?", "Mixed Emotions", "What year did they release the album?", "1978.", "Was the album successful?", "I don't know." ]
C_25a4a885ca4e4de2936ded332d7961ab_0
Did they write or release any top charters or win awards?
10
Did the band Exile write or release any top charters or win awards?
Exile (American band)
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
CANNOTANSWER
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky
false
[ "The 23rd Fangoria Chainsaw Awards is an award ceremony presented for horror films that were released in 2020. The nominees were announced on January 20, 2021. The film The Invisible Man won five of its five nominations, including Best Wide Release, as well as the write-in poll of Best Kill. Color Out Of Space and Possessor each took two awards. His House did not win any of its seven nominations. The ceremony was exclusively livestreamed for the first time on the SHUDDER horror streaming service.\n\nWinners and nominees\n\nReferences\n\nFangoria Chainsaw Awards", "American Hustle is a 2013 American crime comedy-drama film directed by David O. Russell. The screenplay, written by Eric Warren Singer and Russell, is based on the FBI ABSCAM operation of the late 1970s and early 1980s. It was filmed in Boston, Worcester, and New York City. It stars an ensemble cast of Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner and Jennifer Lawrence.\n\nColumbia Pictures initially provided a limited release to American Hustle at six theaters on December 13, 2013. It was later given a wide release at over 2,500 theaters in the United States and Canada on December 20. The film grossed a worldwide total of over $251 million on a budget of $40 million. As of 2019, it is also Russell's highest-grossing film to date. Rotten Tomatoes, a review aggregator, surveyed 280 reviews and judged 93% to be positive.\n\nAt the 86th Academy Awards, American Hustle joint-led the nominations with Gravity, both earning ten nominations each. It was also the fifteenth film in Oscar history to be nominated in all four acting categories. However, the film did not win any awards at the ceremony. At the 71st Golden Globe Awards, the film garnered seven nominations, going on to win Best Motion Picture – Musical or Comedy, Best Actress – Musical or Comedy for Adams, and Best Supporting Actress for Lawrence. American Hustle was nominated for ten British Academy Film Awards and went on to win Best Actress in a Supporting Role for Lawrence, Best Original Screenplay, and Best Makeup and Hair. At the 20th Screen Actors Guild Awards, the film won Outstanding Performance by a Cast in a Motion Picture. It was also nominated at the Directors Guild Awards, Producers Guild Awards, and Writers Guild Awards. The American Film Institute included the film in their list of Top Ten Films of 2013.\n\nAccolades\n\nSee also\n 2013 in film\n\nReferences\n\nExternal links\n Awards for American Hustle at the Internet Movie Database\n\nLists of accolades by film" ]
[ "Roger Clemens", "Boston Red Sox" ]
C_f72b22142867485089d0addaa85090bd_0
When did Clemens play with the Red Sox?
1
When did Roger Clemens play with the Red Sox?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
1986
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "The 1991 Boston Red Sox season was the 91st season in the franchise's Major League Baseball history. The Red Sox finished tied for second in the American League East with a record of 84 wins and 78 losses, seven games behind the Toronto Blue Jays.\n\nOffseason\nDecember 19, 1990: Danny Darwin signed as a free agent with the Red Sox.\nFebruary 1, 1991: John Moses was signed as a free agent by the Red Sox.\nApril 1, 1991: John Moses was released by the Red Sox.\n\nRegular season\n\nSeason standings\n\nRecord vs. opponents\n\nNotable transactions\n April 18, 1991: Steve Lyons was signed as a free agent by the Red Sox.\nAugust 9, 1991: Kevin Romine was released by the Red Sox.\n\nOpening Day Line Up\n\nAlumni game\nThe team held an old-timers game on May 11, before a scheduled home game against the Texas Rangers. Festivities included non-playing appearances by Ted Williams (then 72) and Joe DiMaggio (then 76), in recognition of the 50th anniversary of the 1941 MLB season, when Williams batted .406 and DiMaggio had a 56-game hitting streak. Red Sox alumni lost, 9–5, to a team of MLB alumni from other clubs, led by José Cardenal who had three hits (including two doubles) in the three-inning game.\n\nRoster\n\nStatistical leaders \n\nSource:\n\nBatting \n\nSource:\n\nPitching \n\nSource:\n\nAwards and honors\nAwards\nWade Boggs – Silver Slugger Award (3B)\nRoger Clemens – American League Cy Young Award, AL Pitcher of the Month (April, September)\n Tony Peña – Gold Glove Award (C)\n\nAccomplishments\nRoger Clemens, American League Leader, Games Started (35)\nRoger Clemens, American League Leader, Innings Pitched ()\nRoger Clemens, American League Leader, Shutouts (4)\n\nAll-Star Game\nWade Boggs, Third Base, Starter\nRoger Clemens, Pitcher, Reserve\nJeff Reardon, Relief Pitcher, Reserve\n\nFarm system\n\nSource:\n\nReferences\n\nExternal links\n1991 Boston Red Sox team at Baseball-Reference\n1991 Boston Red Sox season at baseball-almanac.com\n\nBoston Red Sox seasons\nBoston Red Sox\nBoston Red Sox\nRed Sox", "The 1987 Boston Red Sox season was the 87th season in the franchise's Major League Baseball history. The Red Sox finished fifth in the American League East with a record of 78 wins and 84 losses, 20 games behind the Detroit Tigers.\n\nRegular season\n\nHighlights\n June 29, 1987: Wade Boggs had a grand slam, a triple, and seven RBIs in a game against the Baltimore Orioles.\n\nSeason standings\n\nRecord vs. opponents\n\nNotable transactions\n July 23, 1987: Bill Buckner was released by the Red Sox.\n August 21, 1987: Glenn Hoffman was traded by the Red Sox to the Los Angeles Dodgers for a player to be named later (minor league player Billy Bartels).\n September 1, 1987: Don Baylor was traded by the Red Sox to the Minnesota Twins for a player to be named later (minor league player Enrique Rios).\n September 1, 1987: Dave Henderson was traded by the Red Sox to the San Francisco Giants for a player to be named later (Randy Kutcher).\n\nOpening Day lineup\n\nSource:\n\nAlumni game\nOn May 23, the Red Sox held an old-timers game, before a scheduled home game with the Chicago White Sox. The game was themed to celebrate the 75th anniversary of Fenway Park. The Red Sox team included Jim Lonborg, Jimmy Piersall, Luis Tiant, and Ted Williams; they were defeated by a team of other MLB alumni, including Cleveland Indians Hall of Fame inductee Bob Feller, Detroit Tigers pitcher Mark Fidrych, and slugger Dick Allen.\n\nRoster\n\nStatistical leaders \n\nSource:\n\nBatting \n\nSource:\n\nPitching \n\nSource:\n\nAwards and honors\nAwards\nWade Boggs, Silver Slugger Award (3B), AL Player of the Month (June)\nRoger Clemens, American League Cy Young Award\nDwight Evans, Silver Slugger Award (OF), AL Player of the Month (August)\n\nAccomplishments\nWade Boggs, American League Batting Champion, .363\nWade Boggs, Major League Baseball Leader, On-base percentage (.461)\nRoger Clemens, American League Leader, Complete Games (18)\nRoger Clemens, American League Leader, Shutouts (7)\nRoger Clemens, American League Leader, Wins (20)\n\nAll-Star Game\nWade Boggs, Third Base, Starter\nDwight Evans, Outfield, Reserve\nBruce Hurst, Pitcher, Reserve\n\nFarm system \n\nSource:\n\nReferences\n\nExternal links\n 1987 Boston Red Sox team page at Baseball Reference\n 1987 Boston Red Sox season at baseball-almanac.com\n\nBoston Red Sox seasons\nBoston Red Sox\nBoston Red Sox\nRed Sox" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986" ]
C_f72b22142867485089d0addaa85090bd_0
How did he perform during the 1986 season?
2
How did Roger Clemens perform during the 1986 season?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
false
[ "India's Best Dancer 2 also known as India's Best Dancer: Best Ka Next Avatar is the second season of the Indian reality TV series India's Best Dancer. It premiered on 16 October 2021 on Sony Entertainment Television. This season hosted by Manish Paul. The Grand Finale was aired on 09 January 2022 and winner was Saumya Kamble.\n\nConcept \nIndia's Best Dancer will showcase the people of some of the best dancing talent, who with their solo performances, will compete to win the show. In the Grand Premiere, the judges announced the Top 12 contestants who will have a respective mentor in the journey ahead. Week-on-week these 12 contestants will have to impress the judges and audience alike to move closer to winning the most coveted title of India's Best Dancer.\n\nTop 12 contestants\n\nScore chart\n\nColor key\n indicates the contestant was eliminated.\n indicates the contestants in bottom.\n indicates the contestants got the full score.\n indicates the contestants did not perform.\n indicates the winner of the season.\n indicates the runner-up of the season.\n indicates the contestant quit the show.\n indicates the finalists of the season.\n\nNotes \n : On 16th,17th,23rd & 24th October the episodes aired were auditions rounds only.\n : Initially Rajendra Bishnoi is in top 12 but due his injury Stand-By contestant Dibbay Das join Best 12.\n : On 30th & 31st October the episodes were Mega Auditions and selected the top 12 contestants.\n : On 6th & 7th November the episodes were Grand Premiere there contestants were not scored by judges.\n : On 18th & 19th December, the contestants performed twice (one with their choreographer and the other with the contestant) and the contestants got scores from the judges twice.\n: On 25th & 26th December, Sanket did not perform due to the demise of his father and hence did not receive the score.\n: On 1st January, Dibbay Das did not perform as he got injured while practicing and hence did not receive the score.\n\nBattle of the best\n\nEpisodes\n\nGuests\n\nSee also\nDance Plus\nDance India Dance\nDance Deewane\nSuper Dancer\n\nReferences\n\nExternal links \n\n India's Best Dancer 2 on Sony Liv\n\n2022 Indian television seasons\nIndia's Best Dancer seasons", "I.aM.mE (which stands for inspire, motivate, and energize) is an American hip-hop dance crew from Houston, Texas. The group rose to prominence after being crowned champions in the sixth season of America's Best Dance Crew. The three founding members, Phillip Chbeeb, Di Moon Zhang and Brandon Harrell, formed I.aM.mE after Marvelous Motion Crew disbanded. Three additional members, Chachi Gonzales, Emilio Dosal, and Džajna \"jaja\" Vaňková, joined later after an audition.\n\nThe new and present roster of I.aM.mE includes members of dance crews who have competed in past seasons of ABDC, Tamara \"Tam\" Rapp (from 8 Flavahz, season 7), Jean \"B-Boy Bebo\" Lloret (from Phunk Phenomenon, season 6), Scarlett Nabil (from Funkdation, season 7), and sole newcomer to the show, Liza Riabinina.\n\nBefore ABDC\nBefore coming together to form I.aM.mE, the members had all achieved considerable success by themselves. Di \"Moon\" Zhang posted many of his tutting videos onto YouTube before he met Phillip \"Pacman\" Chbeeb and created Marvelous Motion Crew, which also included Brandon \"747\" Harrell. As the main choreographers, they led the team to much success, winning first place at \"The Show\", a Dallas competition hosted by JabbaWockeeZ, the San Diego-based winners of ABDCs first season. Taking the crew to new levels, Marvelous Motion traveled to California on their first major competition, receiving third place at \"World of Dance: Pomona\" under the direction of Moon. However, the crew was unable to audition for the fourth and fifth seasons of ABDC, as Pacman was still under contract with the fifth season of So You Think You Can Dance. After the crew disbanded in late 2010, Pacman, Moon, and 747 held an audition, creating a brand new crew with three new members in preparation for ABDC: Season of the Superstars.\n\nABDC Season 6\n\nI.aM.mE was declared the champions of ABDC: Season of the Superstars on June 5, 2011. They became the first mixed gender crew and also the first group from the South to win, ending the Western dominance of previous ABDC seasons.\n\n{|class=\"wikitable\"\n|-\n!Week\n!Challenge\n!Music\n!Result\n|-\n|1: Lil Wayne Challenge\n|None\n|\"Right Above It\"Lil Wayne feat. Drake\n|align=\"center\" rowspan=\"6\" bgcolor=\"green\"|Safe\n|-\n|3: The Black Eyed Peas Challenge\n|Must come together and create a machine\n|\"Meet Me Halfway\"The Black Eyed Peas\n|-\n|4: Katy Perry Challenge\n|Fan out like a peacock\n|\"Peacock\"Katy Perry\n|-\n|5: Rihanna Challenge\n|The Spiderman\n|\"S&M\"Rihanna\n|-\n|6: Justin Bieber Challenge\n|Perform Usher's famous glide\n|\"Somebody to Love\"Justin Bieber feat. Usher\n|-\n|7: Nicki Minaj Challenge\n|Incorporate childhood games into the routine\n|\"Moment 4 Life\"Nicki Minaj feat. Drake\n|-\n|rowspan=\"2\"|8: Kanye West Challenge\n|Demonstrate versatility by creating a routine that incorporated three different styles of dance.\n|Dougie: \"Gold Digger\"Kanye West feat. Jamie FoxxBoogaloo: \"Touch the Sky\"Kanye West feat. Lupe FiascoIsolations: \"Love Lockdown\"Kanye West\n|align=\"center\" bgcolor=\"orange\"|Bottom 2\n|-\n|Last chance to hook the voters using an original performance\n|\"Ill-emental\"\n|align=\"center\" rowspan=\"2\" bgcolor=\"green\"|Safe\n|-\n|9: Battle of the Final Two\n|The judges chose which performance the crews would reproduce, but with modifications. The two crews were then pitted against each other in a three-round dance battle, with Swizz Beatz providing the music.\n|\"S&M\"RihannaI.aM.mE vs. Iconic BoyzSwizz Beatz\n|-\n|rowspan=\"3\"|10: The Finale\n|Partner:ICONic Boyz\n|\"Raise Your Glass'''\"Pink\n|align=\"center\" rowspan=\"3\" bgcolor=\"yellow\"|Champions\n|-\n|Perform for the last time before winner of ABDCs announcement\n|\"Rocketeer\"Far East Movement feat. Ryan Tedder\n|-\n|Victory Dance after being announced season 6 ABDC winners\n|\"Written in the Stars'\"Tinie Tempah feat. Eric Turner\n|}\n\nWeekly Summaries\n\nWeek 1: Lil Wayne Challenge\nI.aM.mE kicked off the season, performing to a mastermix of Lil Wayne's \"Right Above It\". Their performances pleased the crowd, and garnered good comments from the judges. D-Trix called them \"clever\" and that they \"took tutting to the next level\": the crew added some Rubik's-cube shapes and brought something new to ABDC. Lil Mama liked how the crew showed illusions and visual effects but mixed it with solid dance choreography. JC Chasez liked their style and was entertained, but wanted the crew to expand and dance to other parts of stage, instead of just the center.\n\nWeek 3: Black Eyed Peas Challenge\nTheir challenge in the third week was to create a futuristic machine, while performing to a mastermix of the Black Eyed Peas' song \"Meet Me Halfway\". They achieved this three times in their routine, notably at the end, when the whole crew came together to form a robot. The judges were pleased, but JC still was not satisfied with how they used the stage, and asked them to spread out more. Lil Mama however, said that they were the most improved and D-Trix said they executed their challenge \"greatly\".\n\nWeek 4: Katy Perry Challenge\nIn the fourth week, they received the Katy Perry song \"Peacock\" with the challenge to fan out like a peacock onstage. Although some of the members had never seen a peacock, and they had difficulty using the whole stage, the crew performed admirably, crafting a routine which satisfied all three of the judges, D-Trix stating how their dancing was authentic and they covered the entire stage, and JC saying he was satisfied with their use of the entire stage.\n\nWeek 5: Rihanna Challenge\nIn the fifth week all the crews were given the challenge of incorporating the dance style known as Dance Hall, while performing to songs by the artist Rihanna. I.aM.mE. received the Rihanna song \"S&M\", and the dance move known as \"The Spiderman\". The crew performed a routine which met the challenge and highlighted member Olivia \"Chachi\" Gonzales as a major character. The judges called the routine \"exceptional\" and \"absolutely brilliant\".\n\nWeek 6: Justin Bieber Challenge\nIn week 6, all five remaining crews were given a challenge by Justin Bieber, based from his documentary movie, Never Say Never. I.aM.mE was given a challenge to perform Usher's famous glide in the routine to the mastermix of \"Somebody to Love\". The crew performed with a chilling opening, featured the moonwalk, and ended with Brandon \"747\" Harrell jumping down after gliding and giving a rose to Lil Mama while the rest of the crew made a big heart with their arms. Lil Mama was still surprised, but she liked how the routine worked. D-Trix said that he loved the performance, just like the last week and told the crew that they were brilliant entertainers. JC still commented on \"How I.aM.mE worked the routine on the middle, again\", but he liked how I.aM.mE made the opening cold and chilling.\n\nWeek 7: Nicki Minaj Challenge\nAll top four crews blasted the seventh week with a routine performed with Nicki Minaj's challenge, based on her alter-egos. Nicki Minaj, who delivered the challenge to the crews herself, gave I.aM.mE the challenge to incorporate childhood games based on Nicki's alter-ego, Cookie, into their dance. After working through cultural differences in childhood games, I.aM.mE decided to incorporate similar games that many people would know. Backstage, Phillip \"Pacman\" Chbeeb said that he was having dehydration before, during, and after the performance because of the hard-training routine and fatigue.\n\nThe performance featured many games, such as Limbo, Jump Rope, Whack-a-Mole, Swing Sets, Hopscotch, and Leapfrog. The routine ended as 747, Pacman, and Millie created a Swing Set, with Chachi as a \"girl on a swing\" held by Moon and Jaja before she jumped off. They received a wild reaction from the crowd. The judges also gave positive reactions. JC told the crew that they performed a risky routine, but cleanly finished it, although he disliked it when he saw I.aM.mE look around the stage and check positions with others. D-Trix claimed that he couldn't find any bad moments on the routine, and loved how much childhood games were involved in the routine. Lil Mama liked how the crew stepped up and loved how the crew had their own moments and identity in the competition.\n\nBackstage after the performance, Jaja, Chachi, 747, and Millie talked about their success, that they made it to top three. Jaja's father had never expected that they could have made it to top five, but the crew proved that he was wrong.\n\nWeek 8: Kanye West Challenge and Last Chance Challenge\nAs three crews were still standing in the championships, I.aM.mE faced their first time in the bottom two and had to face off against Phunk Phenomenon for a spot in the finals: ICONic Boyz had proceeded to the finale already. The crews were given a task to perform with Kanye West's mastermixes and show their own versatility to perform three different classic dance styles. The challenge was handed out by fifth season's winner, Poreotix.\n\nBefore the performance videos, the crew revealed that they had no problems performing two out of the three different styles (Boogaloo and Isolations) and only had problems performing the Dougie. Moon said that he really wanted to have a good performance that week because he wanted his parents to come to the finale and watch him perform live for the first time. He also said that he loved the crew that he created and danced with, and he stated that he believed they could make it to the finale.\n\nThe crowd did give them a standing ovation and chanted, \"I.aM.mE, I.aM.mE!\", leaving the judges with no criticism. JC said that the crowd's response weren't wrong and they deserved it. He also told the crew that they were very intelligent and unique and that they created new pictures that were unexpected and exciting. D-Trix was left speechless and said that the crew had \"brain-banged\" him. He complimented the crew on performing as themselves and that the crew had just \"murdered\" the \"Isos (Isolation)\" part. Lil Mama agreed with both judges that I.aM.mE were inspiring as dancers with unique styles. She noted that whatever happened, they would be champions.\n\nPhunk Phenomenon was spirited and had wowed the judges, but I.aM.mE rose to the top two to battle against ICONic Boyz for the title of America's Best Dance Crew. After the mid-show elimination, they then had to perform their Last Chance Challenge to ask viewers to keep voting them to be winner of ABDC. For their final performance before voting lines opened, the crew worked with District 78 to create their own performance. They created their own original songs, wardrobe, and performance, resulting in the \"Ill-Emental\" performance which showed each of the members' skills and talents, as represented by their own elements: Emilio as Earth, Chachi as Fire, Jaja as Electricity, 747 as Wind, Moon as Machine, and Pacman as Water. The performance ended with the crew creating with their bodies the I-M-E letters. They received a standing ovation from the audience and the judges.\n\nWeek 9: Battle of Final Two/The Ultimate Battle\nI.aM.mE and ICONic Boyz, as the top two crews at the ninth week, were given the task to extend the choreography from one of their previous performances picked by judges and to perform it, before the ultimate battle that consisted of three rounds.\n\nThe crew performed to an extended performance of \"S&M\" and were praised by the judges. JC noted again that they were unique. Lil Mama was excited as Chachi turned back into Spider-Girl and showed a new way to \"knock\" her enemies. D-Trix said that the crew was getting better and better. At the end, both crews faced off in a three-round dance battle with music provided by Swizz Beatz. At the end both crews showed their own original sign: ICONic Boyz with the thumb and I.aM.mE with the letters I, M, and E.Week 10: The Finale\nThe finale opened with I.aM.mE and ICONic Boyz performing in a dance collaboration to \"Raise Your Glass\" by Pink. After the performance, America's Best Dance Crew champions JabbaWockeeZ (from season 1), Super Cr3w (season 2), Quest Crew (season 3), We Are Heroes (season 4), and Poreotix (season 5) returned to the stage to perform for the season finale.\n\nThat same night, I.aM.mE performed a routine to \"Rocketeer\" by Far East Movement for one moment before the announcement. The performance featured some flips and examples of choreography that were already shown on past episodes, but largely featured popping. The performance ended with Emilio performing a backflip, Moon and 747 showing their thumbs, while the music ended with the audio \"One small step for I.aM.mE, one giant leap for ABDC.\"\n\nAfter 50 million votes were cast, I.aM.mE was declared as the winner of America's Best Dance Crew for season 6. The crew performed their victory dance to \"Written in the Stars\" by Tinie Tempah.\n\nABDC Season 8\nI.aM.mE joined the competing teams for ABDC Season 8, America’s Best Dance Crew All-Stars: Road to the VMAs, in 2015. This season features the winners of past 7 seasons, except Poreotix, who won in season 5 and JabbaWockeeZ, who won season 1.\n\nBoth female members from I.aM.mE's appearance in season 6, Džajna \"Jaja\" Vaňková and Olivia \"Chachi\" Gonzales, did not participate in season 8. Jaja is under contract with So You Think You Can Dance for its 12th season, and Chachi decided to focus on her solo projects, thus missing I.aM.mE's rehearsals. This led to speculations that the I.aM.mE members decided to eject her from the group, as they also stopped tagging her in social media but still tagged Jaja.\n\nI.aM.Me ended up in the Bottom 2 of episode 4, together with Quest Crew, who ultimately won the competition I.aM.mE finished in fourth place of Season 8.\n\nAppearances\n\nTelevision\n Pacman has auditioned in seasons 3, 4 and 5 of So You Think You Can Dance. He got to perform in the finale of season 4 as a guest performer. After auditioning again in season 5, he made it to the finals, where he was eliminated in the Top 12 of the season. Emilio auditioned in season 10, and after making it into the finals, he withdrew due to an injury. He then auditioned for season 11 and made the Top 20, where he was eliminated in the Top 10 of the season. Jaja auditioned for season 11 and season 12, and made the latter's Top 4.\n Pacman later went on to choreograph for SYTYCD, choreographing Zack and Fik-Shun's routine in Season 11 and the Top 20 Street Routine with Christopher Scott in Season 12.\n Chachi was one of the backup dancers for the Tribute to Britney Spears in the 2011 MTV Video Music Awards.\n Emilio and 747 performed as backup dancers for LMFAO's performance of \"Party Rock Anthem\" and \"Sexy and I Know It\" on the American Music Awards 2011.\n I.aM.mE performed at MTV's NYE in NYC 2012. The crew danced to \"Party Rock Anthem\" by LMFAO, \"We Found Love\" by Rihanna, \"Beautiful People\" by Chris Brown, \"Give Me Everything\" by Ne-Yo and Pitbull, and \"Till The World Ends\" by Britney Spears.\n I.aM.mE performed in a Shake It Up episode on June 3, 2012.\n\nMiscellaneous work\n They performed at hip-hop dance charity showcase, Ken-Ya Dance, in April 2012 with other notable crews like Instant Noodles.\n The crew taught workshops at the Urban Dance Camp in southern Germany in 2011 and 2012, and performed at the corresponding Urban Dance Showcase both years.\n They performed at the International Secret Agents 2011 in Seattle, San Francisco, and at the Los Angeles Festival. (Jaja did not perform with the crew in Seattle. Chachi and Moon did not perform with the crew in San Francisco. Pacman did not perform with the crew in Los Angeles.)\n They performed at the Kinematix I.aM. PHUNK'tion event at Northeastern University in Boston on November 4, 2011.\n They visited the Philippines in April 2012 for a series of events. They were judges for a local dance contest, Dance Off 2012: The Grand Finals, and they performed two mall shows as part of the Brain Bang Mall Show. Each member also taught workshops for the Brainstorm Workshop 2012. A meet and greet event also took place.\n They made a guest appearance on the ninth episode of The LXD: Rise of the Drifts.\n\nFilm\n Pacman made an appearance in the film Step Up 4.\n Pacman, Emilio and Jaja appeared in Step Up 5.\n Chachi took the lead role in the 2014 film The Legend of Dark Horse County, directed by Shawn Welling, creator of the AXI series on YouTube which they regularly star in.\n Chachi made an appearance in East Los High.\n\nYouTube/music videos\n Pacman and Moon made a cameo for Nigahiga (Ryan Higa), a popular videomaker on YouTube.\n Each member of the crew stars in Welling Films' AXI (Avengers of eXtreme Illusions'').\n Moon made an appearance in LMFAO's video for \"Sorry for Party Rocking\".\n Pacman and 747 made an appearance on D-Trix's video \"20 Michael Jackson Moves\".\n Pacman, Jaja, Moon, Millie and 747 made an appearance in Nigahiga's \"Clenching My Booty\" music video.\n Jaja made an appearance on D-Trix's \"20 Twerks\" video.\n Pacman appeared in the video for Ed Sheeran's hit song \"Don't\".\n Pacman appeared in Taylor Swift's music video for \"Shake It Off\".\n Chachi appeared in Meghan Trainor's \"Lips Are Movin.\"\n Pacman (and sometimes Moon) makes lots of appearances in D-Trix's videos (theDOMINICshow) including \"Now Add A Dancer\" 1-4 and \"How Dancers Do College.\"\n\nReferences\n\nExternal links \n \n\nAmerica's Best Dance Crew winners\nAmerican hip hop dance groups" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later." ]
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Did he play in the world series?
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Did Roger Clemens play in the world series?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
false
[ "Sayed Shirzad (born 1 October 1994) is an Afghan cricketer. Shirzad is a left-handed batsman who bowls left-arm medium pace.\n\nDomestic career\nShirzad represented Afghanistan Under-19s in the 2011 Under-19 World Cup Qualifier in Ireland,. He made his Twenty20 debut for the Afghan Cheetahs in the Faysal Bank Twenty-20 Cup against Rawalpindi Rams. He wasn't required to bat in this match, while with the ball he bowled two wicket-less overs.\n\nHe made his List A debut for Boost Region in the 2018 Ghazi Amanullah Khan Regional One Day Tournament on 11 July 2018. He was the leading wicket-taker for Boost Region during the tournament, with twelve dismissals in six matches.\n\nT20 franchise career\nIn September 2018, he was named in Kandahar's squad in the first edition of the Afghanistan Premier League tournament. He was the leading wicket-taker for the Kandahar Knights in the tournament, with sixteen dismissals in eight matches.\n\nInternational career\nHe made his Twenty20 International debut for Afghanistan against Oman on 29 November 2015.\n\nIn May 2018, he was named in Afghanistan's squad for their inaugural Test match, played against India, but he was not selected for the match.\n\nIn July 2018, he was named in Afghanistan's One Day International (ODI) squad for their series against Ireland, but he did not play. In September 2018, he was named in Afghanistan's ODI squad for the 2018 Asia Cup, but he did not play.\n\nIn February 2019, he was named in Afghanistan's One Day International (ODI) squad for their series against Ireland in India. He made his ODI debut for Afghanistan against Ireland on 2 March 2019. Following the conclusion of the ODI series, he was added to Afghanistan's Test squad, for the one-off match against Ireland, but he did not play.\n\nOn 27 June 2019, Sayed was added to Afghanistan's squad for the 2019 Cricket World Cup, replacing Aftab Alam, who was ruled out of the tournament due to \"exceptional circumstances\". In August 2019, he was named in Afghanistan's Test squad for their one-off match against Bangladesh, but he did not play. In February 2021, he was named in Afghanistan's Test squad for their series against Zimbabwe. He made his Test debut for Afghanistan, against Zimbabwe, on 10 March 2021.\n\nReferences\n\nExternal links\n\n1994 births\nLiving people\nAfghan cricketers\nAfghanistan Test cricketers\nAfghanistan One Day International cricketers\nAfghanistan Twenty20 International cricketers\nAfghan Cheetahs cricketers\nKandahar Knights cricketers\nCricketers at the 2019 Cricket World Cup", "Adam Alexander (born July 11, 1973) is a television announcer with Fox Sports. He currently is the play-by-play announcer for Fox NASCAR's NASCAR Xfinity Series coverage, as well as part of the pre-race coverage for the network's NASCAR Cup Series efforts and a host of NASCAR Race Hub. He also calls college football and college basketball for Fox Sports.\n\nCareer\nAlexander began his career at television station WEVV in Evansville, Indiana, and he concurrently served as a public address announcer for the Tri-State Speedway and also called games for the Evansville Purple Aces men's basketball team. Alexander also worked for WKBR-FM and hosted a weekly racing talk show in the late 1990s.\n\nAlexander was part of the Indianapolis Motor Speedway Radio Network as a pit reporter and turn announcer for the Indianapolis 500 in the early 2000s.\n\nAlexander worked for the Motor Racing Network for coverage of NASCAR from 2000 to 2006 as a studio host, pit reporter, and play-by-play announcer. He worked on coverage of the Sprint Cup and Nationwide Series and did play-by-play for the NASCAR Camping World Truck Series.\n\nAlexander was a pit reporter for NASCAR on TNT from 2006 through 2009 and did play-by-play coverage from 2010 to 2014. Alexander was the host of SPEED Center on the defunct SPEED channel, and also worked on NASCAR Live! and NASCAR in a Hurry. He was a pit reporter for the NASCAR Camping World Truck Series on the network, and also worked for DirecTV's Hot Pass coverage of NASCAR events.\n\nIn 2013, Alexander worked with Chris Simms to announce College Football on Fox.\n\nIn August 2014, he took over as one of two play-by-play announcers for the Fox Camping World Truck Series broadcasts and was made full-time in October for the remainder of the season. He also called Truck races for Fox in 2015 before moving up to the Xfinity Series, a position he still holds.\n\nAlexander played a cameo role in the 2017 film Logan Lucky.\n\nPersonal life\nAlexander was born in Madison, Indiana, and graduated from Vincennes University and University of Evansville. He later moved to the Charlotte, North Carolina area. He was not related to driver Blaise Alexander despite sharing a last name.\n\nReferences\n\nExternal links\nFox Sports profile\n\nLiving people\nPeople from Madison, Indiana\nPublic address announcers\nCollege football announcers\nCollege basketball announcers in the United States\nMotorsport announcers\nUniversity of Evansville alumni\n1973 births\nVincennes University alumni" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.", "Did he play in the world series?", "After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6," ]
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How did he perform in game 6?
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How did Roger Clemens perform in game 6?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
Clemens left the game after 7 innings leading 3-2,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
false
[ "Dust Devils is an independently published role-playing game set in the Old West, written by Matt Snyder. It was voted the 2002 Indie RPG of the Year; it also won the Best Synergy of Game and Rules category, as well as placing in the Best Production and Most Innovative Game categories.\n\nThe game uses playing cards and Poker mechanics to resolve scenes and situations. Players create poker hands using their character's scores to earn cards. Then, they compare poker hands to see how their characters perform in a scene. The game was the first RPG to introduce a randomized narrator. In the game, whoever plays the highest single card during a scene becomes the narrator for how the scene ends and what happens in it.\n\nNew edition\n\nMatt Snyder republished Dust Devils in expanded form in 2007. The new edition, called Dust Devils Revenged, includes updated rules, play advice, and a brief examination of the Old West in film and history. The new edition also included three different settings for the game.\n\nDeathwish re-envisioned the game for modern spy action\nRonin, by Jason Blair, altered the game rules for Feudal Japan\nConcrete Angels, by Jared Sorensen, altered the game for Neo noir crime\n\nExternal links\n Stories you play (author's blog)\n\nIndie role-playing games\nRole-playing games introduced in 2002\nHistorical Western role-playing games", "Yo-kai Watch: Wibble Wobble was a mobile puzzle spin-off title to the Yo-kai Watch video game series. As announced on April 2, 2018, the English versions of the game permanently shut down on May 31, 2018.\n\nGameplay \n\nYo-kai Watch: Wibble Wobble is a puzzle game and sees the player matching 2 or more matching Wib Wobs (Yo-kai) to make bigger Wib Wobs, which, when popped (clicked), deal damage, with the damage depending on the size of the Wib Wob. Every Yo-kai has a Soultimate meter that increases every time a Wib Wob of that Yo-kai is popped. When the Soultimate meter is full, the Yo-kai can perform a \"Soultimate move\", which will aid the player in battle in some way.\n\nThe game would also often hold events that would feature unique characters, locations, and or items.\n\nDevelopment \nThe Japanese release of the game was first announced on April 7, 2015 at a product presentation held at the Tokyo Dome City Hall. The game was later delayed from summer 2015 to October 2015. The English release of the game was first announced later on March 11, 2016, by the game's publisher, Level-5, via a trailer on the official Yo-kai Watch YouTube channel.\n\nReception \n\nYo-kai Watch: Wibble Wobble received \"generally favorable\" reviews from critics, receiving a 61/100 score on review aggregator Metacritic.\n\nIn a review for TouchArcade, Chris Carter criticized the game's story, difficulty, and the Spirit feature, a feature that makes the player need to wait before they play levels (which can be bypassed by spending in-game money), however, he praised how the game \"captures the essence\" of the original TV-show and how the game rewards skill. Gamezebo's Rob Rich praised how the game's characters were \"adorable\", the amount of Yo-kai to unlock, and how progression \"never stops\", but criticized the gameplay for being confusing and also noted that the game's difficulty increases early in the game, making grinding necessary.\n\nSales \nOn March 11, 2016, the Japanese release of the game, Yo-kai Watch: Puni Puni, was the 28th top-grossing app for iOS in Japan. In December 2016, the English releases of the game surpassed 1 million downloads. In March 22, 2017, the game had achieved over 10 million downloads worldwide. As of January 2019, the Japanese release of Wibble Wobble had surpassed 14 million downloads since its launch in October 2015.\n\nNotes\n\nReferences\n\nExternal links \n \n\n2015 video games\nLevel-5 (company) games\nAndroid (operating system) games\nIOS games\nVideo games developed in Japan\nPuzzle video games\nSingle-player video games\nYo-kai Watch video games" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.", "Did he play in the world series?", "After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6,", "How did he perform in game 6?", "Clemens left the game after 7 innings leading 3-2," ]
C_f72b22142867485089d0addaa85090bd_0
Did the Red Sox win the game?
5
Did the Red Sox win Game 6 of the World Series in 1986?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
Red Sox went on to lose the game in the 10th inning,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
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[ "The 1978 Boston Red Sox season was the 78th season in the franchise's Major League Baseball history. After 162 regular-season games, the Red Sox and the New York Yankees finished tied atop the American League East division, with identical 99–63 records. The teams then played a tie-breaker game, which was won by New York, 5–4. Thus, the Red Sox finished their season with a record of 99 wins and 64 losses, one game behind the Yankees, who went on to win the 1978 World Series.\n\nOffseason \n November 23, 1977: Mike Torrez was signed as a free agent by the Boston Red Sox.\n December 8, 1977: Don Aase and cash were traded by the Red Sox to the California Angels for Jerry Remy.\n December 14, 1977: Ferguson Jenkins was traded by the Red Sox to the Texas Rangers for John Poloni and cash.\n December 27, 1977: Dick Drago was signed as a free agent by the Red Sox.\n March 28, 1978: Denny Doyle was released by the Red Sox.\n March 30, 1978: Rick Wise, Mike Paxton, Ted Cox, and Bo Díaz were traded by the Red Sox to the Cleveland Indians for Dennis Eckersley and Fred Kendall.\n\nRegular season \n\nThe Red Sox played 163 games, as a tie-breaker game was needed to determine the winner of the AL East.\n\nThe \"Boston Massacre\" \nFor several days in July, the Red Sox were 14 games ahead of the rival New York Yankees; at the end of play on July 19, Boston was 62–28 and New York was in fourth place at 48–42. However, the Yankees worked their way back. At the end of play on September 6, the Yankees had reduced the 14-game deficit to only four games, just in time for a four-game series at Fenway Park in Boston. The Yankees won all four games in the series, by a combined score of 42–9, leaving the teams tied with identical 86–56 records at the end of play on September 10. The series became known as the \"Boston Massacre\", named after the March 5, 1770, confrontation with British soldiers.\n\nTie-breaker game \nThe Yankees held a one-game lead over the Red Sox before the final day of the regular-season schedule. With a Red Sox win over the Toronto Blue Jays, and a Yankee loss to the Cleveland Indians, the two teams finished the season in a tie for the AL East division title, both with records of 99–63. The next day, in a tie-breaker game played at Fenway Park, the Yankees beat the Red Sox, 5–4, with the help of a memorable home run by Bucky Dent.\n\nThe Yankees went on to win the World Series in six games over the Los Angeles Dodgers. Although Dent became a Red Sox demon, the Red Sox would get a measure of retribution in 1990, when the Yankees fired Dent as their manager during a series at Fenway Park.\n\nSeason standings\n\nRecord vs. opponents\n\nNotable transactions \n May 20, 1978: Bob Ojeda was signed as an amateur free agent by the Red Sox.\n\nOpening Day lineup \n\nSource:\n\nRoster\n\nPlayer stats\n\nBatting\n\nStarters by position \nNote: Pos = Position; G = Games played; AB = At bats; R = Runs scored; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted in; SB = Stolen bases\n\nOther batters \nNote: G = Games played; AB = At bats; R = Runs scored; H = Hits; Avg. = Batting average; HR = Home runs; RBI = Runs batted in; SB = Stolen bases\n\nPitching\n\nStarting pitchers \nNote: G = Games pitched; CG = Complete games; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; BB = Walks allowed; SO = Strikeouts\n\nOther pitchers \nNote: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; BB = Walks allowed; SO = Strikeouts\n\nRelief pitchers \nNote: G = Games pitched; W = Wins; L = Losses; SV = Saves; ERA = Earned run average; SO = Strikeouts\n\nAL East tie-breaker game\n\nAwards and honors \nAwards\n Dwight Evans – Gold Glove Award (OF)\n Fred Lynn – Gold Glove Award (OF)\n Jim Rice – American League Most Valuable Player, AL Player of the Month (May, August)\n\nAccomplishments\n Jim Rice, American League leader, Hits (213)\n Jim Rice, American League leader, Home runs (46)\n Jim Rice, American League leader, RBIs (139)\n\nAll-Star Game\n Rick Burleson, reserve SS (did not attend)\n Dwight Evans, reserve OF\n Carlton Fisk, starting C\n Fred Lynn, reserve OF (started CF)\n Jerry Remy, reserve 2B\n Jim Rice, starting LF\n Carl Yastrzemski, reserve OF (did not attend)\n\nFarm system \n\nLEAGUE CHAMPIONS: Bristol\n\nSource:\n\nReferences\n\nFurther reading\n\nExternal links\n Home opener news coverage from WNAC-TV (April 14, 1978)\n1978 Boston Red Sox team page at Baseball Reference\n1978 Boston Red Sox season at baseball-almanac.com\n\nBoston Red Sox seasons\nBoston Red Sox\nBoston Red Sox\nRed Sox", "The Yankees–Red Sox rivalry is a Major League Baseball (MLB) rivalry between the New York Yankees and the Boston Red Sox. Both teams have competed in MLB's American League (AL) for over 120 seasons and have since developed what is arguably the fiercest rivalry in all of American sports. In 1919, Red Sox owner Harry Frazee sold star player Babe Ruth to the Yankees, which was followed by an 86-year period in which the Red Sox did not win a World Series. This led to the popularization of a superstition known as the \"Curse of the Bambino,” which was one of the most well-known aspects of the rivalry.\n\nThe rivalry is often a heated subject of conversation, especially in the home region of both teams, the Northeastern United States. \nUntil the 2014 season, every season's postseason had featured one or both of the AL East rivals since the inception of the wild card format and the resultant additional Division Series in 1995; they have faced each other in the AL Championship Series (ALCS) three times. The Yankees won twice, in 1999 and 2003; while the Red Sox won in 2004. The two teams have also met once in the AL Division Series (ALDS), in 2018, with Boston winning 3–1, a series which included a 16–1 Red Sox win in Game 3 at Yankee Stadium, the most lopsided postseason loss for the Yankees in their history. In addition, the teams have twice met in the last regular-season series of a season to decide the league title, in 1904 (when the Red Sox, then known as the Americans, won) and 1949 (when the Yankees won).\n\nThe Yankees and the Red Sox finished tied for first in 1978; subsequently, the Yankees won a high-profile tie-breaker game for the division title. The first-place tie came after the Red Sox had a 14-game lead over the Yankees more than halfway through the season. Similarly, in the 2004 ALCS, the Yankees ultimately lost a best-of-7 series after leading 3–0. The Red Sox comeback was the only time in baseball history that a team has come back from a 0–3 deficit to win a series. The Red Sox went on to win the World Series, ending the 86-year-old curse.\n\nThis match-up is regarded by some sports journalists as the greatest rivalry in sports. Games between the two teams often generate considerable interest and receive extensive media coverage, including being broadcast on national television. National carriers of Major League Baseball coverage, including Fox/FS1, ESPN, and MLB Network carry most of the games in the rivalry across the nation, regardless of team standings or playoff implications. Yankees–Red Sox games are some of the most-watched MLB games each season. Outside of baseball, the rivalry has led to violence between fans, along with attention from politicians and other athletes.\n\nBackground\nBoston and New York City have shared a rivalry as cities since before the American Revolution. For more than a century after its founding, Boston was arguably the educational, cultural, artistic, and economic power in the United States. Its location as a close American port to Europe and its concentration of elite schools and manufacturing hubs helped maintain this position for several decades. During this time period, New York was often looked down upon as the upstart, over-populated, dirty cousin to aristocratic and clean Boston.\n\nIn the 19th century, however, New York's economic power outpaced Boston's, fueled by possession of the terminus of the Erie Canal, which spurred massive growth in the manufacturing, shipping, insurance and financial services businesses. Another factor was its more rapid population expansion compared to that of Boston, driven by the growth of these industries, by New York's popularity as an immigration port of entry, and enhanced by a larger population base, even prior to the construction of the Canal – on the eve of the Revolution, New York, with 30,000 people, had nearly twice the population of Boston, with about 16,000. By the start of the 20th century the original dynamic, centered on Boston, had completely shifted as New York, particularly Wall Street, became the focus of American capitalism.\n\nThe cities even played two different versions of early baseball. The \"Massachusetts Game,\" as it was called, was played on a field with four bases and with home plate in the middle; whereas, the \"New York Game,\" popularized by the New York Knickerbocker Club, was played on a diamond with three bases. The \"New York Game\" spread throughout the nation after the American Civil War and became the foundation for the modern game of baseball.\n\nRed Sox' early success\n\nThe Red Sox were one of the most successful teams in baseball from 1901 to 1918. They won the inaugural World Series in (as the Boston Americans; the team changed its name to Red Sox in 1908) and four more between and . In 1901, the Yankees, then known as the Baltimore Orioles, played in Maryland for two seasons before moving north. The two teams had their first meeting in Baltimore on April 26, 1901, the inaugural year of the American League. On May 7, 1903, both teams played for the first time after the Orioles franchise moved to New York and became the New York Highlanders, in reference to playing games in the Washington Heights neighborhood of Manhattan. The game was marked by a fight when Boston pitcher George Winter was knocked down. Boston would eventually go on to win the pennant and the inaugural 1903 World Series. The 1904 season featured the teams facing each other on opening day. Later in the season, the Highlanders, led by pitcher Jack Chesbro in his record-setting 41 game-winning season, met the Boston Americans in the season's final game to decide the American League pennant winner. Chesbro threw a wild pitch in the top of the ninth inning, allowing the winning run to score from third base, and Boston won the game, and the pennant. The New York Giants, who had already clinched the National League pennant, refused to play in the 1904 World Series because of a perception of the \"Junior Circuit\" as being inferior (and because of alleged animosity between American League founder and first president, Ban Johnson, and the hierarchy of the Giants, owner John T. Brush and his team's Hall of Fame coach, player-manager John McGraw); thus, there was no World Series that year. Not until 2004 would the Red Sox again defeat the Yankees in a title-deciding game.\n\nOn April 11, 1912, the Highlanders debuted their pinstripes in a game against Boston, by then known as the Red Sox. Nine days later, Boston opened Fenway Park with a game against the Highlanders, who had left their home field of Hilltop Park to play in the newly-rebuilt Polo Grounds; soon thereafter, in 1913, the team dropped the nickname Highlanders in favor of Yankees.\n\nSix years later, the Chicago Cubs scored two runs off of Babe Ruth in game 4 of the Series, snapping his then record World Series scoreless inning streak at innings. The Red Sox won the game, 3–2, and went on to capture their fifth Series title, their third in four years, and fourth in seven years.\n\nThe Yankees would however receive one notable moment of glory against the Red Sox during this era. On April 24, 1917, Yankees pitcher George Mogridge threw a no-hitter at Fenway Park, the first in the ballpark's history and first in Yankees history.\n\nBabe Ruth sold to Yankees\n\nIn 1916, Broadway producer Harry Frazee purchased the Red Sox, on credit, for $500,000. Frazee lost his patience with Ruth despite the latter's success with the Red Sox, as Ruth had threatened to hold out for a larger contract and become a distraction. After the Red Sox finished sixth in the American League in 1919, Frazee, needing money to finance a Broadway musical, often said to be No, No Nanette (the success of that 1925 play is actually what paid off the loan). However, Ruth was sold to the Yankees in 1919, and \"No, No Nanette\" was produced by Frazee in 1925. Frazee received $125,000 and a loan of $300,000 — secured on Fenway Park — for Ruth, despite Ruth having set the record for home runs with 29 in 1919. This began a series of deals with the Yankees that resulted in a long period of mediocrity for the Red Sox while the Yankees began their dynasty.\n\nRuth's arrival in New York simultaneously launched the Yankees dynasty while ravaging the Red Sox. While the Red Sox' five World Series titles were a record at the time, 1918 would be the team's last championship for 86 years. Meanwhile, Ruth's home run-hitting prowess anchored the Yankees line-up, which became known as \"Murderers' Row\" in the late 1920s. The Yankees reached the World Series seven times during Ruth's New York years, winning four. This abrupt reversal of fortunes for the Red Sox marked the beginning of the supposed \"Curse of the Bambino.\" But it was not the Ruth deal alone that reversed the fortunes of both clubs. Frazee also sold many other players to the Yankees.\n\nRobert W. Creamer reported that \"[the] loan was made and relations between the two clubs continued to be cordial, with Frazee sending player after player to the Yankees over the next few seasons for more and more cash. This was no accident. Frazee and Yankees owner Tillinghast L'Hommedieu Huston were friends, and American League president Ban Johnson's attempts to drive Frazee out of the game had caused the five teams loyal to Johnson to make no deals with the Red Sox as long as Frazee owned the club, leaving only the Yankees and White Sox as trading partners. When the White Sox' reputation was destroyed in the Black Sox Scandal, Frazee's only option for trades was to deal with the Yankees. The Red Sox soon became a baseball disaster area, finishing dead last nine times in eleven seasons.\"\n\nAmong others, Wally Schang, Everett Scott, Carl Mays, Waite Hoyt, Joe Bush and Sam Jones went from the Sox to the Yankees in the next one to three years, along with Ed Barrow, the former Red Sox manager who became the Yankees' general manager and empire-builder for the first quarter-century of the Yankees' dynasty. Scott, a former Red Sox team captain, actually took the reins as Yankees captain from Ruth when he arrived; in doing so, he became the only player in history to be named captain for both teams.\n\nCurse of the Bambino\nFrom 1920 through 2003, the Yankees won 26 World Series championships and 39 pennants, compared to only four pennants for the Red Sox. In every year that the Red Sox won the pennant—1946, 1967, 1975 and 1986—they lost the World Series 4–3, leaving them with no World Series titles. During this time, the Red Sox finished second in the standings to the Yankees on twelve occasions—in 1938, 1939, 1941, 1942, 1949, 1977, 1978, and every year from 1998 to 2003. During the 84-year period, the Yankees finished with a better regular-season record than the Red Sox 66 times, leading one sportswriter to quip that the Yankees' rivalry with the Red Sox was much like the rivalry \"between a hammer and a nail.\" The Yankees finished second in the standings to the Red Sox twice, in 1986 and 1995.\n\n1920s and 1930s: First Yankees dynasty\nJust two years after Ruth's sale, he went on to have a record setting season, one of the greatest in major league history for a batter. This propelled the Yankees to win their first pennant and face their cross-town rival. Ruth got hurt during the Series, and the Yankees eventually dropped the last three games, losing the Series 5–3 to the Giants in the last ever best-of-nine Series. Both the Yankees and Giants would play in the 1922 World Series as well, a series that would be the Yankees' last in the two teams' shared stadium at the Polo Grounds, as the Giants served the Yankees an eviction notice after the 1921 season.\n\nThe Yankees moved across the Harlem River to the Bronx into Yankee Stadium. On April 18, 1923, the Yankees opened their new home against the Red Sox. Over 74,200 people watched the Yankees defeat the Red Sox, 4–1, in the first game played at the stadium. Babe Ruth hit the new stadium's first home run, christening the stadium as \"The House that Ruth Built.\" Ruth would finish the year with a .393 batting average and the Yankees won their first World Series that year. Of the 24 players on the Yankees, 11 previously played for the Red Sox.\n\nSeveral lesser known moments in the rivalry occurred during the 1930s. Pitcher Red Ruffing was traded in 1930 from the Red Sox to the Yankees. Ruffing, who had limited success with the Red Sox, would go on to a Hall of Fame career with the Yankees winning six World Series. On May 30, 1938, before 83,533 spectators at Yankee Stadium, Yankees outfielder Jake Powell and Red Sox player-manager Joe Cronin fought on the field and beneath the stands. Both players were fined and suspended for 10 games. The Yankees and Red Sox would finish first and second in the League respectively that year as well as the following. The Yankees went on to sweep the Chicago Cubs in the World Series and the Cincinnati Reds in the World Series a year later.\n\n1940s–1960s: Teddy Ballgame, Joltin' Joe the Yankee Clipper\nThe rivalry intensified in 1941 when Ted Williams of the Red Sox batted .406, becoming the last player to bat over .400 in a season. Despite his accomplishment, Williams lost the AL MVP race to the Yankees' Joe DiMaggio, who in the same season set the record for a hitting streak, with 56 straight games with a hit. Williams later reminisced about his rivalry with DiMaggio saying \"DiMaggio was the greatest all-around player I ever saw. His career cannot be summed up in numbers and awards. It might sound corny, but he had a profound and lasting impact on the country.\" Both teams almost swapped the two players. In 1947, Boston Red Sox owner Tom Yawkey and Yankees GM Larry MacPhail were rumored to have verbally agreed to trade DiMaggio for Williams, but MacPhail refused to include Yogi Berra and the deal fell through. Joe DiMaggio's younger brother Dom would play for the Red Sox his entire career during the 1940s.\n\nThe Red Sox won 15 games in a row in 1946. They were unstoppable and were in first place all but two days in the season, and would play in their first World Series game since 1918, having finished ahead of the Yankees in the American League for the first time since selling Babe Ruth. Since the Red Sox last pennant in 1918, the Yankees had won 14 pennants and 10 World Series. Boston would eventually lose the Series 4–3 to the St. Louis Cardinals.\n\nFormer Yankees manager Joe McCarthy came out of retirement after a feud with Yankees ownership to sign with the Red Sox as their manager in 1948. Both the Yankees and the Red Sox were involved in a tight pennant race with the Cleveland Indians until the final weekend. The Red Sox eliminated the Yankees in the final series at Fenway Park, overcoming four DiMaggio hits in the final game to tie Cleveland for the pennant. The situation forced the first-ever one-game playoff in AL history, which the Indians won 8–3 at Fenway Park and preventing the first all-Boston World Series, as the Indians went on to defeat the Boston Braves in the Series.\n\nA year later, the Red Sox entered the final series of the season at Yankee Stadium needing only one win over the Yankees to advance to the World Series. The Sox lost 5–3 on the last day of the season after falling 5–4 the previous day, resulting in the Yankees winning the AL pennant. The Yankees went on to defeat the Brooklyn Dodgers in the 1949 World Series for their 12th championship.\n\nThe 1951 season opened up at Yankee Stadium. The Yankees defeated the Red Sox in public address (PA) announcer Bob Sheppard first game. Sheppard would go on to serve PA duties at Yankee Stadium for another 56 years. On September 28 of that year, Yankees pitcher Allie Reynolds pitched a no-hitter against the Red Sox. A year later, Red Sox outfielder Jimmy Piersall and Yankees second baseman Billy Martin exchanged insults before a game in Boston, and ended up fighting in the tunnel under the stands. The fight was eventually broken up by Yankees coaches Bill Dickey and Oscar Melillo, and Boston starting pitcher Ellis Kinder. Piersall changed out of his bloody shirt and promptly fought with teammate Maury McDermott. The Red Sox won 5–2 with Piersall sitting the game out.\n\nThe Yankees won five consecutive World Series titles from 1949 to 1953, breaking their previous streak of four straight titles from 1936 to 1939. They would also go on to win 14 AL pennants in 16 years from 1949-1964.\n\n1961–1980: Milestones, fights, close finishes, and the Bucky Dent game\n\nThe 1961 season saw the chase of Babe Ruth's 1927 single season home run record by Roger Maris and Mickey Mantle. Both Maris and Mantle would continue to reach the home run record until Mantle got injured late in the season, leaving Maris to reach the record. On the last day of the season, Maris broke the record with his 61st home run of the year off Red Sox pitcher Tracy Stallard at Yankee Stadium. Former Hall of Fame shortstop for the Yankees, Phil Rizzuto, called the shot in what was one of his first games as an announcer. The Yankees won the game 1–0 to win their 26th American League pennant and then to win their 19th World Series title.\n\nThe next year, the Red Sox had been in the middle of a streak of eight straight losing seasons. The team was so bad, that after a 13-3 loss to the Yankees on July 26, Red Sox ace Gene Conley got off the bus and attempted to leave the country and go to Israel. Conley was denied his request because he did not have a passport. Nonetheless, Conley stayed away from the team for three days.\n\nIn 1967, Red Sox pitcher Billy Rohr came within a single strike of a no-hitter at Yankee Stadium. Elston Howard hit a two-out, two-strike single in the ninth to break the no-hit bid. Rohr completed the one-hitter, but ultimately finished his career with only two wins, both coming against the Yankees. Later that year, Red Sox third baseman Joe Foy hit a grand slam during the first game of a two-game series. In the second game, Yankees pitcher Thad Tillotson threw two brushback pitches at Foy before beaning him in the batting helmet. In the next inning, Red Sox pitcher Jim Lonborg beaned Tillotson. Both pitchers yelled at each other, and then a brawl ensued. During the fight, Red Sox outfielder Reggie Smith picked up and body-slammed Tillotson to the ground. Two months later, both teams were involved in the longest game ever played (by innings) at Yankee Stadium. New York recorded a 20-inning 4–3 victory over Boston. Earlier that year on August 3, the Yankees traded Howard to the Red Sox to help bolster their team during the pennant race. When Howard returned to Yankee Stadium in a Red Sox uniform, the Yankees fans gave him a standing ovation. Boston would be led by Hall of Famer Carl Yastrzemski's historic season winning the batting triple crown, leading the Red Sox to the pennant in what was a dream year for the Sox. Howard's contribution would be instrumental in the 1967 World Series, but he and Yastrzemski would lose to Bob Gibson and the St. Louis Cardinals four games to three.\n\nIn 1973, the American League adopted the designated hitter rule. On April 6, opening the season at Fenway Park, Ron Blomberg of the Yankees became the first designated hitter in Major League history. Red Sox pitcher Luis Tiant walked Blomberg in his first plate appearance of the game. Later that year at Fenway Park, with the score tied 2–2 in the top of the ninth, Yankees catcher Thurman Munson attempted to score from third base on a missed bunt by Gene Michael. He crashed into Red Sox catcher Carlton Fisk resulting in a fight with Munson punching Fisk in the face. The rivalry intensified in the 1970s with the fans too, as just a year later in 1974 at Fenway Park, Yankees first baseman Chris Chambliss was struck in the right arm with a dart thrown from the stands after hitting an RBI ground-rule double. Two years later, Yankees outfielder Lou Piniella would crash into Fisk feet first in an attempt to score in the sixth inning of a game at Yankee Stadium. The two benches cleared while Piniella and Fisk brawled at home plate. After the fight apparently died down and order appeared to be restored, Sox pitcher Bill Lee and Yankees third baseman Graig Nettles and center fielder Mickey Rivers began to exchange words, resulting in another fight. Lee suffered a separated left shoulder from the tilt and missed the next 51 games of the 1976 season. He would continue to pitch until 1982. The 1976 season saw the Yankees win the pennant, but lose to the Big Red Machine in the 1976 World Series, just like the Red Sox had done a year prior in the 1975 World Series in which Carlton Fisk hit his famous home run off of the left field foul pole at Fenway Park.\n\nAfter the Yankees' loss to the Reds, owner George Steinbrenner committed to sign marquee free agent Reggie Jackson to help win a championship. The Yankees, Red Sox, and Baltimore Orioles would battle each other the entire year in the division race. The Yankees would win the division for the second year in a row, while the Orioles and Red Sox finished tied for second, games behind the Yankees. Jackson's entry onto the Yankees initially had caused a lot of friction on them. In the middle game of what would prove to be a three-game series sweep by the Red Sox at Fenway Park, Yankees manager Billy Martin pulled Reggie Jackson off the field in mid-inning for failing to hustle on a ball hit to the outfield. The extremely angry and highly animated Martin had to be restrained by coaches Yogi Berra and Elston Howard from getting into a fistfight with Jackson in the dugout during the nationally televised game. Eventually, emotions calmed down for the season and the Yankees came together to recapture the pennant and defeat the Los Angeles Dodgers in the 1977 World Series, their first since .\n\nIn 1978, the Red Sox, led by Jim Rice, Carl Yastrzemski, Fred Lynn and catcher Carlton Fisk, and managed by future Yankees coach Don Zimmer, were looking good for the World Series for the second time in the decade. They led the Yankees in the standings by 14 games in mid-July, with less than three months to go in the regular season. The Yankees turned their season around just as the Red Sox started to collapse. By September 7, the Yankees had whittled down the 14-game deficit to only four games, just in time for a four-game series at Fenway Park in Boston. The Yankees won all four games in the series by a combined score of 42–9. This series became known as the \"Boston Massacre\". On September 16, the Yankees held a -game lead over the Red Sox, but the Sox won 12 of their next 14 games to overcome that deficit and finish in a first-place tie with the Yankees. A tie-breaker game was scheduled in Boston to determine who would win the AL East pennant for 1978.\n\nBoston pitted former Yankees pitcher Mike Torrez against the Yankees' Cy Young Award winner, Ron Guidry, who took a 24–3 record into the game. The Sox were beating Guidry 2–0 in the top of the seventh inning when light-hitting Yankees shortstop Bucky Dent hit a two-out, three-run home run over Fenway Park's Green Monster to take a 3–2 lead. It was only his fifth home run of the season. The Yankees later led 5–2 and held on to win 5–4 when Yastrzemski popped out with runners on first and third, ending the Red Sox' season. Yankees closer Goose Gossage notched his 27th save of the season. Gossage would later comment years later about how he was spat on at Fenway Park and had beer thrown in his face. \"There is no rivalry in sports that rivals the Yankees—Red Sox...that playoff game in '78–it felt like the playoffs and World Series were exhibition games after that.\" The headline in The Boston Globe the next day summed it all up: \"Destiny 5, Red Sox 4.\" New York went on to defeat the Kansas City Royals in the ALCS and the Los Angeles Dodgers in the World Series for their second straight championship.\n\n1980s and early 1990s\n\n1980s: No championships\nThe 1980s is the only decade in which neither the Yankees nor the Red Sox won a World Series. Although both teams went to a World Series during that decade, the Red Sox were not serious contenders in the Yankees' playoff years (1980 and 1981), but the Yankees seriously contended in the Red Sox' playoff years (1986 and 1988).\n\nThe Yankees lost the World Series in , while the Red Sox loss came in 1986. Both times, the teams lost after being up 2–0 in their respective World Series. For the Yankees, the loss in 1981 marked the beginning of the team's demise and downfall in the 1980s and early 1990s. Despite the lack of championships, the rivalry between the teams did have some memorable highlights. Yankees left-hander Dave Righetti threw a no-hitter against the Red Sox at Yankee Stadium. One of the game's greatest hitters, Wade Boggs, struck out to end the game.\n\nOn October 4, 1986, Righetti once again made history against the Red Sox when he saved both games of a doubleheader against them, finishing the season with 46 saves, and breaking the major league record shared by Dan Quisenberry and Bruce Sutter. The record would stand until Bobby Thigpen saved 57 games for the Chicago White Sox in 1990, which would also be Righetti's last season with the Yankees. Righetti retained the single-season record for left-handers until 1993, when Randy Myers saved 53 games for the Chicago Cubs; Righetti still owns the AL record for left-handers.\n\nRighetti's teammate, first baseman and defending American League MVP Don Mattingly, came into the last game batting .352, second in the league to Boston's Wade Boggs. With Boggs sitting out the game, Mattingly needed to go 6 for 6 to win the batting title. Although Mattingly would hit a home run in his first at bat and a double later on, he fell short and Boggs won the batting title. Mattingly would be named most outstanding player that year by the press, but fell short to Boggs' teammate Roger Clemens in the AL MVP voting.\n\nDespite Righetti's pitching on the last day of the season, the Red Sox still won the division and marched on in the playoffs. The Red Sox faced the Yankees' cross-town rivals, the New York Mets, in the World Series. The New York Times called the series a \"painful series\". Newsday called it \"woeful days for Yankee fans\". Mike Lupica of the New York Daily News called the series \"the World Series that is the Yankee nightmare\". Both Newsday and The Boston Globe said there were Mets T-shirts saying \"Steinbrenner's nightmare,\" referring to Yankees owner George Steinbrenner. John Powers of the Globe quoted Claire Smith, who covered the Yankees for the Hartford Courant, as having said \"this really is the World Series of the nightmares\".\n\nIn Game 6 of the World Series, Boston (leading the series 3–2) took a 5–3 lead in the top of the 10th inning. In the bottom half of the inning, Red Sox reliever Calvin Schiraldi retired the first two batters, putting the team within one out of winning the World Series. The Mets, however, scored three runs, tying the game on a wild pitch from Bob Stanley and winning it when Boston first baseman Bill Buckner allowed a ground ball hit by the Mets' Mookie Wilson to roll through his legs, scoring Ray Knight from second base. In Game 7, the Red Sox took an early 3–0 lead, only to lose 8–5. The collapses in the last two games prompted a series of articles by George Vecsey of The New York Times fueling speculation that the Red Sox were \"cursed\".\n\nThe 1987 season saw rivalry at the end of the season, as on September 29, Yankees' first baseman Don Mattingly set an MLB record by hitting his sixth grand slam home-run of the season against the Red Sox. The competitiveness of the teams continued the following year. Co-captains Ron Guidry and Willie Randolph had led the Yankees to first place two weeks after the All-Star break. On July 28, the Yankees fell out of first place, and the Red Sox won their second division title in three years. Boston went on to face the Oakland Athletics in the 1988 American League Championship Series, but would end up getting swept.\n\n1990–1995\nIn the early to mid-1990s, the two teams were seldom equally good. The Yankees had the worst record in the American League when the Red Sox won their division title in 1990. In 1992, both teams finished at or near the bottom of the AL East.\n\nIn 1990, Boston Globe columnist Dan Shaughnessy wrote a book titled The Curse of the Bambino, criticizing the Red Sox for the sale of Babe Ruth, and publicized the curse. When the Red Sox were at Yankee Stadium during a weekend in September 1990, Yankees fans started to chant \"1918!\" to taunt the Red Sox, reminding them of the last time they won a World Series. Each time the Red Sox were at Yankee Stadium afterward, demeaning chants of \"1918!\" echoed through the stadium. Yankees fans also taunted the Red Sox with signs saying \"1918!\", \"CURSE OF THE BAMBINO\", pictures of Babe Ruth, and wearing \"1918!\" T-shirts each time they were at the Stadium.\n\nOn June 6, 1990, before a Yankees–Red Sox game at Fenway Park, the Yankees fired Bucky Dent as their manager, making Fenway Park the scene of his worst moment as manager, although he had his greatest moment as a player there. Red Sox fans felt retribution as Dent was fired on their field, while players on the Yankees, including former Red Sox catcher Rick Cerone and Mattingly felt Dent was used as a scapegoat. Dan Shaughnessy criticized Steinbrenner for firing Dent in Boston and said he should \"have waited until the Yankees got to Baltimore\" to fire Dent. He said that \"if Dent had been fired in Seattle or Milwaukee, this would have been just another event in an endless line of George's jettisons. But it happened in Boston and the nightly news had its hook.\" He also said that \"the firing was only special because...it's the first time a Yankees manager...was purged on the ancient Indian burial grounds of the Back Bay.\" However, Yankees television analyst Tony Kubek blasted at Steinbrenner for the firing in a harsh, angry way. At the beginning of the broadcast of the game on MSG Network, he said to Yankees television play-by-play announcer Dewayne Staats, \"George Steinbrenner made a big deal that the Dave Winfield situation was mishandled. I think George mishandled this. You don't take a Bucky Dent (at) the site of one of the greatest home runs in Yankee history and fire him and make it a media circus for the Boston Red Sox.\" He then stared defiantly on camera and said to Steinbrenner, \"You don't do it by telephone, either, George. You do it face to face, eyeball to eyeball, even though you may have had a deposition to give to Mr. Dowd (John Dowd, who investigated Steinbrenner's relationship with Howard Spira). If you really are a winner, you should not have handled this like a loser.\" He then said, angrily, \"George, you're a bully and a coward.\" He then said that \"What all this does, it just wrecks George Steinbrenner's credibility with his players, with the front office and in baseball more than it already is–if that's possible. It was just mishandled.\" The firing of Dent shook New York to its core and the Yankees flagship radio station then, WABC, which also criticized the firing, ran editorials demanding that Steinbrenner sell the team.\n\nThe 1993 season saw long-time Red Sox fan favorite Wade Boggs defect to the Yankees after eleven seasons with Boston. Later in September 1993, the Yankees defeated Boston at Yankee Stadium via a last-moment reprieve. Trailing 3–1, Mike Stanley's apparent fly out with two outs in the ninth was nullified by a fan running onto the field prior to the pitch being thrown. The umpire had called time and when play resumed, Stanley singled. The Yankees would rally to score three runs and win on a Mattingly single.\n\nThe Yankees' 1980s demise and downfall continued into the early 1990s and was at its frustrating peak in 1994, when they finished with the best record in the American League in a season that was prematurely halted by the 1994–95 Major League Baseball strike, which left New York sports fans disappointed that Mattingly had not played in a postseason despite being poised to do so that year. At that time, he led active players in both games played and at-bats without participating in a postseason game. Throughout October, the news media added to the embarrassment when they often made references to dates that games in the World Series would have been played. That year, the Yankees and Red Sox would have finished the season against each other at Fenway Park. Both managers, Buck Showalter of the Yankees and Butch Hobson of the Red Sox, who made their managerial debuts against each other, were fired as a result of or during the strike.\n\nThe strike was the harbinger of the 1995 season for the Yankees. Although the Red Sox jumped out to a fast start and finished the season in first place, the Yankees were not serious contenders for the division title. With the Yankees clinching the inaugural American League Wild Card on the last day of the season, the Yankees and Red Sox reached the post-season in the same season for the first time. Before the postseason began, Mattingly contemplated about the first-ever playoff series in the rivalry, saying, \"That would be pretty cool. It wouldn't hurt the rivalry any. There'd be a few deaths...just kidding\". Both teams lost in separate ALDS series, with the Red Sox being swept by the Cleveland Indians and the Yankees losing in five games to the Seattle Mariners. For the Yankees, the loss led to another post-strike fallout: both Showalter and general manager Gene Michael were fired as a result of the loss. Similarly, the firing of Showalter as Yankees manager and the loss in the 1981 World Series were fallouts from the strike that year. In fact, the 1981 strike was antecedence to the Yankees' demise and downfall of the 1980s and 1990s and the strike in 1994 was part of that demise.\n\n1996–2003: Yankees dominance and first postseason meetings\n\nLate 1990s: Yankees dynasty\nA year after captain Don Mattingly's retirement in 1995, the Yankees won the 1996 World Series. It was their first in 18 years and the first of former Red Sox player Wade Boggs' career. Boggs celebrated the victory with a memorable moment of jumping on the horse of a NYPD officer during the celebration.\n\nThe Yankees had one of the greatest seasons in baseball history in 1998. The Yankees won a then-AL record 114 games and the season culminated in a win over the San Diego Padres in the 1998 World Series. The Red Sox, too, made the playoffs in 1998, but as a Wild Card, they did not seriously contend for the division title. They lost their ALDS.\n\nAbout four months after victory, the Yankees traded fan favorite David Wells to the Toronto Blue Jays for Roger Clemens, a fan favorite with the Red Sox between 1984 and 1996. Clemens was coming off two consecutive season with the Blue Jays where he had won both the pitching triple crown and the Cy Young Award in both 1997 and 1998.\n\nOnce the 1999 season started, a moment of peace occurred between the fans. Yankees manager Joe Torre returned to Fenway Park for his first game following a battle with prostate cancer. While the managers were exchanging lineup cards, the Boston crowd gave Torre a long standing ovation, to which he tipped his cap. Good relations were seen during the All-Star Game at Fenway Park. Yankees manager Joe Torre, manager for the American League team, replaced starting shortstop Nomar Garciaparra of the Red Sox with Derek Jeter. Garciaparra received a standing ovation from the fans after Jeter came in to replace him (they also embraced each other at this time). Later in the game, when he came to bat, Jeter gave Garciaparra a tribute by mimicking his batting stance. Nine years later, in a similar fashion, Red Sox manager Terry Francona managed the American League team at the All-Star Game at Yankee Stadium, in the stadium's final season.\n\nOn September 10, 1999, Chili Davis' second-inning home run was the only hit by the Yankees against Pedro Martínez, who struck out 17 Yankees—the most strikeouts against a Yankees team ever in a nine inning game. Martínez retired the last 22 batters after giving up the home run, including striking out eight of the final nine batters. The teams finished first and second in their division and both made the playoffs in the same season. This led to the very first post-season meeting in the longtime rivalry.\n\n1999 ALCS: First postseason meeting\n\nIn 1999, the Yankees and Red Sox faced each other for the first time in the ALCS. The Yankees were the defending World Series champions, while Boston had not appeared in the ALCS since 1990. The Yankees won Game 1 on a 10th-inning walk-off home run by Bernie Williams off Boston reliever Rod Beck. Intensity built up due to this historic, first-ever postseason meeting between the two longtime rivals. The Yankees would win the first two games at home with 7th-inning comebacks.\n\nThe lone bright spot for the Red Sox came in Game 3 at Fenway Park, in what had been a much anticipated pitching match-up of former Red Sox star Roger Clemens, who was now with the Yankees, and Boston ace Pedro Martínez. Martínez struck out twelve and did not allow a run through seven innings of work; Clemens was hit hard, giving up five earned runs and only lasting two innings of a 13–1 Red Sox victory. The Yankees rebounded to win Games 4 and 5, clinching the American League pennant and advancing to the World Series, where they swept the Atlanta Braves. The loss to Pedro Martínez was the Yankees' only postseason loss, as the team went 11–1.\n\nThe following year at Fenway Park, the Yankees beat the Red Sox, 22–1, handing Boston its most lopsided home loss ever. The Yankees scored 16 total runs in the 8th and 9th innings. The Yankees lost 15 of their final 18 games that season and finished with a record of 87–74, but the Red Sox failed to catch up and finished 2.5 games out of first to lose another division title to the Yankees. Despite having the lowest winning percentage of any postseason qualifier in 2000, the Yankees won their third consecutive World Series and 26th overall, in the first Subway Series since 1956, over their cross-town rivals, the New York Mets, in 5 games.\n\nA year later, David Cone, one of the key players in the then-most recent Yankees dynasty, started for the Red Sox against the Yankees at Yankee Stadium to the sound of a standing ovation despite playing for the arch-rivals. Cone would later take part in another notable game later that year when he went up against newly acquired Yankees pitcher Mike Mussina. Mussina had come within one strike of pitching a perfect game against the Red Sox at Fenway Park. Carl Everett's 9th-inning single was the only baserunner allowed by Mussina in a 1–0 Yankees win. Coincidentally, David Cone was the last Yankees pitcher to throw a perfect game, in 1999.\n\nOn September 10, the two teams had a game against each other rained out. The next day, the country saw one of its biggest tragedies bring both sides together. Following the terrorist attacks on New York City's Twin World Trade Center Towers (which ironically involved two passenger jets departing from Boston), Boston fans displayed signs saying \"Boston Loves New York\" in a rare moment of peace between the two sides of the rivalry. On September 23, the Yankees' home field hosted a memorial service titled, \"Prayer for America\". The warm feeling of solidarity would once again be short-lived as just prior to the 2003 season, Red Sox President Larry Lucchino labeled New York Yankees the \"Evil Empire\" after Cuban free agent José Contreras opted to sign with the Yankees instead of the Red Sox. The new ownership group had made it their personal mission to win a championship.\n\n2001–2003: Unbalanced schedule\nMajor League Baseball changed its scheduling format beginning in 2001, further intensifying division matchups throughout the league. The new \"unbalanced schedule\" allowed for additional games in each season between divisional rivals, replacing additional series with teams outside the division. Due to the change, the Red Sox and Yankees now played each other 18-19 times each season. The scheduling drew criticism both when it was enacted and after the fact, with some analysts even positing the unbalanced schedule hurt intra-divisional play.\n\nIn 2002, the Red Sox asked the Yankees for permission to interview one of George Steinbrenner's assistants, former Yankees general manager Gene Michael, for their vacant general manager position, but Steinbrenner denied their request. Boston Red Sox then hired Theo Epstein, a protégé of Red Sox President and CEO Larry Lucchino, as general manager, and at 28 years old, he was the youngest general manager in baseball history.\n\n2003 ALCS\n\nBoth teams would face off in the ALCS once again in 2003. Entering the series, the Red Sox were the favorites to reach the 2003 World Series and The New York Times had endorsed a showdown between the Red Sox and the Chicago Cubs, the latter of whom had not been to the World Series since and had not won a championship since .\n\nDue to the unbalanced schedule, when Boston forced the ALCS to a full seven games, the seventh game set a major league record for the rivalry between the two teams: it marked the first time two major league teams have played more than 25 games against each other over the course of a single season.\n\nIn the top of the fourth inning of Game 3 of the ALCS at Fenway Park, Red Sox starting pitcher Pedro Martínez hit Yankees batter Karim García, prompting an argument between the two players, which ended with both teams clearing the benches but no punches being thrown. In the bottom half of the inning, a pitch from Roger Clemens to Manny Ramírez was high and inside, and a brawl ensued. Ramírez swore at Clemens for the pitch. Yankees bench coach Don Zimmer, then 72 years old, and who had been the manager of the \"doomed\" 1978 Boston Red Sox, charged at Martínez; the pitcher grabbed Zimmer by the head and swung him to the ground. Later, midway through the ninth inning, García and Yankees pitcher Jeff Nelson fought with a Fenway Park groundskeeper, Paul Williams, in the bullpen. Two Boston Police officers issued a report saying Nelson and García engaged in \"an unprovoked attack\" on Williams and summonses would be sought for the two New York Yankees for assault and battery. After reviewing the incident, MLB Commissioner Bud Selig said he was \"very disappointed\" by the behavior of the participants and fined Martínez $50,000, Ramírez $25,000, García $10,000, and Zimmer $5,000.\n\nIn Game 7 at Yankee Stadium, the Red Sox held a 5–2 lead through seven innings due to an ineffective start by Roger Clemens, but the Yankees remained in the game because of three shutout innings of relief by Mike Mussina in his first career relief appearance. After Boston Red Sox starter Pedro Martínez gave up a run in the eighth, manager Grady Little visited the mound but elected to leave a tiring Martínez to complete the inning. Martínez then gave up a ground-rule double to Hideki Matsui, and Yankees catcher Jorge Posada blooped a double into center field that drove in two runners and tied the game. The game went into extra innings and in the bottom of the eleventh inning, leadoff hitter Aaron Boone, grandson of Ray Boone, a (retired) longtime scout with the Red Sox, hit a solo home run off of Tim Wakefield to left field, ending the game and the series, giving the Yankees their 39th American League pennant. The Long Island, New York, newspaper Newsday went to the press before the game was over, and thinking Boston would win the game, editorialized as to what was wrong with the Yankees, and why they had lost the ALCS to the Red Sox. In a postgame interview, Red Sox first baseman Kevin Millar described the emotions in the Red Sox locker room: \"It was like we were all back in high school, like we'd all just gotten beat in the state playoffs, and everyone was going to graduate.... When you're a teenager and you lose the big football game, that's when you see guys cry uncontrollably. You don't [usually] see that much at this level.\"\n\nTwo days later, the Red Sox fired Grady Little. People blamed him for the Game 7 loss, claiming he left Martínez in for too long.\n\n2004–16: The curse is broken\n\n2004: Red Sox win World Series\n\nIn an effort to build up their lineup, the Red Sox set up a potential deal that would send Texas Rangers SS and reigning AL MVP Alex Rodriguez to Boston and Manny Ramírez and other players to Texas. The deal eventually fell through after Rodríguez indicated he would not go against the MLBPA, which opposed a proposed renegotiation that would have potentially reduced Rodríguez's earnings in the later years of his contract. A freak off-season basketball injury to Aaron Boone, just months removed from his historic home run, had Yankees management looking at possible options to replace him. Despite being courted by Boston for nearly three months, Rodríguez was traded to New York.\n\nThat year, the Red Sox won an eventful season series against the Yankees, 10–9. A 13-inning comeback win for the Yankees on July 1 was punctuated by a catch from Jeter, who ran and dove into the stands at full speed and came out with facial lacerations when Trot Nixon hit a pop up in an area deep behind third base. On July 24, Jason Varitek shoved his glove into the face of the Yankees' Álex Rodríguez after Rodríguez was hit by a pitch from Bronson Arroyo, causing a bench-clearing brawl. Though he was ejected (along with Rodríguez) from the game following the incident, the moment sparked Boston to an 11–10 come-from-behind victory. The Red Sox finished second to the Yankees in the AL East for the seventh straight season. Both teams would advance to the ALCS for the second straight year.\n\n2004 ALCS: The curse is broken\n\nAfter the melodrama of the 2003 ALCS, a rematch in 2004 was hotly anticipated. Yankees GM Brian Cashman said \"I think Boston...really are...a mirror image of us in terms of...aggressiveness and desire to win\". Yankees pitcher Mike Mussina summarized the buildup: \"This is what everyone was hoping for...it's a rematch of last year, with the best two teams in the American League\".\n\nThe Yankees won the first three games of the series, including a 19–8 rout in Game 3. No team in the history of baseball had ever won a best-of-seven series after being down 3–0. Entering the bottom of the ninth inning of Game 4 at Fenway Park, Yankees reliever Mariano Rivera was attempting to close out a 4–3 lead. But after a leadoff walk to Kevin Millar, pinch-runner Dave Roberts stole second and came around to score on an RBI single by Bill Mueller. Boston won the game in the bottom of the 12th inning on a home run by David Ortiz. Game 5 featured another extra-inning Boston comeback, as the Red Sox tied the game in the 8th inning and won it in the 14th on a single hit by Ortiz that drove in Damon from second. In Game 6, Curt Schilling, who tore a tendon sheath in his right ankle during the ALDS against Anaheim, pitched seven innings of one-run ball. Schilling's tendon had been sutured to his ankle to relieve the discomfort and was given local anesthetic and painkillers for the game. During the game, his sock started to absorb the blood from his freshly sutured ankle, and \"the bloody sock\" instantly became an indelible image of the dramatic series. A controversial call was made when Alex Rodriguez was called out after he intentionally slapped the ball out of Arroyo's hand while running to first base. Boston held on to win the contest, 4–2. They then completed their historic comeback with a blowout win in Game 7 by a score of 10–3. The New York Yankees blowing the 3–0 lead has been considered the biggest collapse in the history of baseball.\n\nThe Red Sox won their first World Series championship in 86 years, completing a sweep of St. Louis in the 2004 World Series.\n\n2005–2009: Yankees, Red Sox win titles\nAt Yankee Stadium on April 3, 2005, the teams' first meeting since the 2004 ALCS, Yankees fans started new taunts, saying \"The Curse of 1918 is finally over (86 years). Let the new curse 2090 begin.\" They also projected the next Red Sox championship with signs saying \"1918-2004-2090.\" A week later, the Red Sox received their World Series rings at Fenway Park before they played the Yankees. All of the Yankees went to the top step of the dugout to applaud their rivals' accomplishment. During the announcement of the lineups, Red Sox fans reciprocated by giving Yankees closer Mariano Rivera, who had struggled against the Red Sox in the previous year's ALCS, a loud standing ovation, despite their booing of Alex Rodriguez. Rivera laughed and tipped his cap. In New York, the YES Network, the Yankees television network, declined to broadcast it. Instead, a fixed camera shot was focused tightly on correspondent Kimberly Jones as she described in general terms the events surrounding her; afterwards, YES was criticized for the move. The Red Sox won the game 8–1.\n\nThe Red Sox acquired starting pitcher Josh Beckett, who pitched a complete game shutout for the Florida Marlins against the Yankees to end the 2003 World Series, the end of the 2005 season. The Yankees would follow with their own off-season acquisition of former Red Sox outfielder Johnny Damon, a fan-favorite during his four years in Boston. Damon returned to Fenway Park the following May to a mix of cheers and boos as he tipped his helmet to the fans.\n\nThe Yankees completed a five-game sweep of the Red Sox at Fenway Park, evoking memories of 1978's \"Boston Massacre\". The Yankees pushed their division lead from games up to games over the second place Sox. Boston Globe columnist Dan Shaughnessy dubbed it the \"Son of Massacre.\" The second game of the series, which the Yankees won 14–11, took four hours and 45 minutes to complete, making it the longest nine-inning game in MLB history. Months after the Yankees loss in the 2006 ALDS and Torre's decision to drop a struggling Alex Rodriguez to 8th in the lineup, Rodriguez in an interview with Sports Illustrated, claimed that he had preferred to go to the Red Sox before being traded to the Yankees. The incident would be one of contention between Torre and Rodriguez as noted in Torre's book, The Yankee Years.\n\nDuring the third inning of a 2007 game at Fenway Park, Ramírez, J. D. Drew, Mike Lowell, and Jason Varitek hit four consecutive home runs off Yankees pitcher Chase Wright, powering a comeback from a three-run deficit and completing a three-game sweep of the Yankees at Fenway Park for the first time since 1990. By May, after long speculation about what team he would play for after retirement, Roger Clemens chose to return to the Yankees as opposed to the Red Sox (where he started his career) or the Houston Astros (his hometown and last team he played for). Clemens helped the Yankees overcome a 14-game deficit in the standings to roar back to reach the playoffs again, however, this was not enough to win the division. On September 28, Boston won the AL East after a win against the Minnesota Twins and a loss by the Yankees against the Baltimore Orioles. This was the first AL East Championship for the Red Sox since 1995, ending the Yankees' nine-year reign in the division.\n\nThe Red Sox went on to sweep the Colorado Rockies in the World Series. Series MVP Mike Lowell remarks, upon receiving his trophy, that \"the Red Sox are expected to win.\" Controversy erupted during the eighth inning of the final game when Alex Rodriguez's agent Scott Boras announced that Rodriguez had decided to opt out of his contract, in what was seen by many as an attempt by Boras to overshadow the series.\n\nThe 2007-08 off-season showed a war of words between management of both teams. Boston GM Theo Epstein called Yankees pitcher Mike Mussina a \"bad apple\" for complaining about the Yankees' 2004 trip to Japan as the Red Sox were gearing up for their own trip there. Epstein claimed that Mussina had used it as a crutch during the season. Mussina retorted back saying \"Yea, we used it as a crutch to win the division!\" Later that month, Hank Steinbrenner, who had taken a bigger role with the Yankees operation from his father George, responded in a feisty manner to the popularity of Red Sox Nation in The New York Times supplemental Play Magazine: Red Sox Nation?' What a bunch of (expletive) that is. That was a creation of the Red Sox and ESPN, which is filled with Red Sox fans. Go anywhere in America and you won't see Red Sox hats and jackets, you'll see Yankee hats and jackets. This is a Yankee country. We're going to put the Yankees back on top and restore the universe to order.\" In response, Red Sox principal owner John W. Henry inducted Hank Steinbrenner into Red Sox Nation. Steinbrenner went on to praise Henry's handling of the Red Sox and said they would always be competitive under him.\n\nIn the 2008-09 off-season, first baseman Mark Teixeira signed an eight year, $180 million contract with the Yankees. Tony Massarotti of The Boston Globe summed up his feelings by calling it a \"kick in the pants\".\n\nIn August 2009, the Yankees defeated the Red Sox, 20–11, in which the total runs scored (31) was the most combined runs scored in a game in the history of the rivalry.\n\nBoth teams made the playoffs in 2009. During the ALDS, the Yankees defeated the Minnesota Twins to face the Los Angeles Angels who had knocked out the Red Sox. The Yankees beat the Angels and went on defeat the Philadelphia Phillies in the 2009 World Series, 4–2, to win their 27th World Series title in their first year in the new Yankee Stadium. Former Red Sox pitcher Pedro Martínez was the losing pitcher for the Phillies in the deciding Game 6.\n\n2010–2012: Yankees fall short, Red Sox collapse\nIn the final series of the 2010 season at Fenway Park, The Red Sox, struggling to get out of third place for much of the season, played the role of spoiler, knocking the Yankees out of first place in the American League East, relegating them to the wild-card for 2010.\n\nIn 2011, the Red Sox went 12–6 against the Yankees, including beating Yankees ace CC Sabathia four times during the season and sweeping two three-game series at Yankee Stadium, the first two series of three games of more where the Yankees have been swept at home since it opened in 2009. Critics and writers forecasted overwhelmingly that the Red Sox would win the 2011 World Series. The Red Sox spent a great deal to build the team in the off-season, and were about to sell at least two Red Sox as Most Valuable Player candidates by mid season. Following a disastrous first month, the Red Sox climbed in the standings. The Yankees claimed the AL East crown after the Red Sox's September struggles left them battling for the wild-card with the Rays, with whom they went into the season's final game tied. On September 28, the Tampa Bay Rays staged a dramatic comeback from 7–0 to win 8–7 over the Yankees in the 12th inning. Only three minutes earlier, Red Sox closer Jonathan Papelbon blew a 3–2 lead over the Orioles in the bottom of the 9th inning, handing a 4–3 walk-off victory to the Orioles. The Rays claimed the AL Wild Card and eliminated the Red Sox from the post-season. It marked the first time in baseball history that a 9-game lead had been blown in September, becoming the worst collapse in baseball history. Dan Shaughnessy of The Boston Globe said that \"the greatest choke in baseball history...feels like revenge for and .\"\n\nThe Red Sox hired outspoken manager Bobby Valentine to take Francona's place. After his signing, Valentine immediately inserted himself into the rivalry when he said he hated the Yankees.\n\nOn the series of April 20–22, 2012, the Red Sox celebrated the 100th anniversary of Fenway Park against the Yankees, who they played to open up the park. Both teams wore their 1912 uniforms on April 20, which the Yankees won 6-2. The Yankees came back from down, 9–0, to win, 15–9, the next day, the largest deficit they have ever overcome. They won the season series 13–5, their best record against the Red Sox since 2001, when they also went 13–5 against them, and swept the final three-game series of the season at Yankee Stadium to clinch the AL East while the Red Sox finished last in the division for the first time since 1992 with their worst record since 1965. Valentine was fired soon after. Later in 2012, the Yankees acquired 2004 ALCS Game 7 winner Derek Lowe. He was the latest member of the 2004 team to later play for the Yankees. After the 2012 season, Kevin Youkilis, who the Red Sox traded to the Chicago White Sox earlier in the season, signed with the Yankees as a free agent. He had previously clashed with Joba Chamberlain when he was with Boston.\n\n2013–2016: Red Sox champions again\nIn 2013, the Red Sox took the regular season series over the Yankees 13-6. The Red Sox finished the season with the best record in the American League and went on to defeat the St. Louis Cardinals in the 2013 World Series to win their eighth World Series title, while the Yankees failed to make the playoffs. In 2014 the Yankees acquired Stephen Drew in exchange for Kelly Johnson in the first trade between the two teams since 1997. Both teams missed the playoffs in 2014, which was the first time in the wild card era.\n\nTo start the edition of the rivalry, the first game at Yankee Stadium on April 10 went into extra innings ended up being one of the longest games ever played — at 6 hours and 49 minutes — going 19 innings, with the Yankees tying the game three times in the bottom of the 9th, 14th, and 16th. The Red Sox won the game, 6-5. The Yankees won the 2015 season series 11-8, including going 7-2 at Fenway Park. Towards the end of the season in September, the Yankees headed to Fenway Park trailing the first place Red Sox by only four games. The Yankees ended up getting swept and blew late-inning leads in three of the four games, including giving up five runs in the ninth inning of the first game. The sweep has been dubbed \"Boston Massacre II\" in reference to the 1978 four-game sweep of the Red Sox by the Yankees at Fenway.\n\nOn September 28, Yankees first baseman and former Red Sox draft pick Mark Teixeira hit the final home run of his career, which was a walk-off grand slam off Boston Red Sox pitcher Joe Kelly. It was the first game-ending home run Teixeira had ever hit in a regular-season game. It was also the first—and as of 2018, the only—walk-off grand slam hit by any player at the new Yankee Stadium.\n\n2017–present: Rebirth of the rivalry\nIn 2017, the Red Sox won the division by two games, forcing the Yankees into the Wild Card Game. However, both teams lost in the postseason to the eventual World Series champion Houston Astros.\n\nFor the third time in the history of the rivalry (the previous two were 1930 and 1992), both teams had new managers to start the 2018 season. The Yankees hired Aaron Boone and the Red Sox hired Alex Cora, both former players of their respective teams. During an early-season game, a brawl erupted between both benches after Yankees first baseman Tyler Austin charged Red Sox pitcher Joe Kelly for throwing at him twice in response to Austin's slide at second base earlier in the game. It became a trending topic on Twitter and the MLB's YouTube channel video of the incident became one of the most viewed, and social media commentators saw the brawl as a spark of a reignited rivalry between the two teams. By the end of the 2018 regular season, both teams qualified for the postseason and both reached the 100-win mark. It was the first time that both teams won at least 100 games in the same season and, along with the Houston Astros, the first time the American League had three 100-game winners. Following the Yankees' victory in the AL Wild Card Game, the two faced each other in the 2018 ALDS. The Red Sox won the series 3–1, taking Games 3 and 4 in Yankee Stadium by a combined score of 20-4. Just like in the April brawl, this series became a Twitter trending topic.\n\nIn May 2018, MLB announced that the teams would play a two-game series during the 2019 season at London Stadium, in the first of a two-year deal to play regular season games at the venue. The 2019 MLB London Series was the first time that the two sides have played each other in regular season play outside of either New York or Boston, and was also the first MLB regular season games were played in Europe. The Yankees won both games in an offense heavy showing in which both teams combined for 50 runs scored in just 18 innings. The Yankees also won four of the five remaining series, pushing the Sox out of contention.\n\nDue to the COVID-19 pandemic, the 2020 season was shortened to 60 games and ten meetings between the rivals, with the Yankees winning nine out of the ten games. The Yankees would finish the season 33–27, good for second place in the AL East, qualifying for the postseason, where they would eventually lose to the Tampa Bay Rays in the American League Division Series. \n\nOn January 25, 2021, the Yankees sent relief pitcher and New York City native Adam Ottavino, prospect Frank German, and cash considerations to the Red Sox for a player to be named later and cash considerations. This was the first trade between the two teams since 2014 and third since 1997. In 2021, the Red Sox acquired reliever Garret Whitlock from the Yankees after they failed to protect him in the Rule 5 Draft. \n\nThe 2021 season series saw the Red Sox win the first seven meetings as they and the Tampa Bay Rays battled for the AL East lead. The Yankees were in the mix for a Wild Card spot. However, New York won nine of the final twelve meetings as Boston fell several games behind Tampa Bay. This put the Yankees and Red Sox squarely in the Wild Card race. On the final day of the season, each team was 91-70 and could clinch a Wild Card spot with a win. New York defeated Tampa Bay, while Boston defeated the Washington Nationals, setting up a meeting in the Wild Card game at Fenway Park. \n\nOn October 5, the Red Sox beat the Yankees in the 2021 American League Wild Card Game, 6-2.\n\nSeason-by-season results \n\n|-\n| 1901\n| Tie\n| 9–9\n| Tie, 4–4\n| Tie, 5–5\n| First year of American League baseball\n|-\n| 1902\n| style=\";\" | Americans\n| style=\";\" | 16–4\n| Americans, 7–1\n| Americans, 9–3\n| \n|-\n| \n| style=\";\" | Americans\n| style=\";\" | 13–7\n| Americans, 7–3\n| Americans, 6–4\n| Orioles move to New York and become the \"New York Highlanders\" First year of organized Major League Baseball Americans win 1903 World Series \n|-\n| \n| style=\";\" | Americans\n| style=\";\" | 12–10–2\n| Americans, 6–4\n| Tie, 6–6–2\n| Americans win three of four over Highlanders to close out season Americans win the AL Pennant by games over Highlanders No World Series held as NL Champion New York Giants refuse to participate\n|-\n| \n| style=\";\" | Americans\n| style=\";\" | 13–8\n| Tie, 5–5\n| Americans, 8–3\n|\n|-\n|-\n| \n| style=\";\" | Highlanders\n| style=\";\" | 17–5–1\n| Highlanders, 8–3\n| Highlanders, 9–2–1\n| Highlanders win 11 straight meetings between May and September\n|-\n| \n| style=\";\" | Highlanders\n| style=\";\" | 12–8–1\n| Highlanders, 6–3–1\n| Highlanders, 6–5 \n| Americans change their name to \"Red Sox\"\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 12–10\n| Red Sox, 7–4\n| Highlanders, 6–5\n|\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 13–9\n| Red Sox, 6–5\n| Red Sox, 7–4\n|\n\n|-\n| \n| style=\";\" | Highlanders\n| style=\";\" | 13–9–1\n| Highlanders, 6–3–1\n| Highlanders, 7–6\n|\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 12–10\n| Red Sox, 8–3\n| Highlanders, 7–4\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 19–2\n| Red Sox, 10–0\n| Red Sox, 9–2\n| Red Sox open Fenway Park Red Sox win 17 straight meetings from October 1911 to July 1912 Red Sox win 1912 World SeriesRed Sox' .905 win percentage makes 1912 the one-sided season series in the history of the rivalry \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 14–6–1\n| Red Sox, 7–2–1\n| Red Sox, 7–4\n| Highlanders change their name to \"Yankees\"\n|-\n| \n| Tie\n| 11–11\n| Red Sox, 6–5\n| Yankees, 6–5\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 12–10\n| Red Sox, 6–5\n| Yankees, 7–4\n| Red Sox win 1915 World Series \n|-\n| \n| Tie \n| 11–11\n| Yankees, 6–5\n| Red Sox, 6–5\n| Red Sox win 1916 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 13–9–1\n| Red Sox, 7–4\n| Red Sox, 6–5–1\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 11–6\n| Yankees, 7–2\n| Tie, 4–4\n| Red Sox win 1918 World Series, their last until 2004\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 10–9\n| Red Sox, 6–5\n| Tie, 4–4\n| \n|-\n\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 7–4\n| Yankees, 6–5\n| Babe Ruth's first season with the Yankees Alleged start to the Curse of the Bambino\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 15–7\n| Yankees, 10–1 \n| Red Sox, 6–5\n| Yankees win first AL pennant, lose 1921 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 13–9\n| Red Sox, 6–5\n| Red Sox, 7–4\n| Yankees lose 1922 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 14–8\n| Yankees, 8–3\n| Yankees, 6–5\n| Yankees open the original Yankee Stadium Yankees win 1923 World Series for first title\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 17–5–1\n| Yankees, 9–2–1\n| Yankees, 8–3\n| Yankees sweep a 4-game series in Boston September 8–11 to even the overall series at 253–253–7 at the season's end\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 7–4\n| Yankees, 6–5\n| On June 27, Yankees take a 259–258–7 lead in the series, a lead the Yankees would never relinquish\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 17–5\n| Yankees, 9–2\n| Yankees, 8–3\n| Yankees lose 1926 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 18–4\n| Yankees, 9–1\n| Yankees, 9–3\n| Yankees win 11 straight meetings from May to August Yankees win 1927 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 16–6\n| Yankees, 7–4\n| Yankees, 9–2\n| Yankees win 1928 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 17–5\n| Yankees, 9–2\n| Yankees, 8–3\n|\n\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 16–6\n| Yankees, 8–3\n| Yankees, 8–3\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 16–6\n| Yankees, 9–2 \n| Yankees, 7–4\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 17–5\n| Yankees, 10–1\n| Yankees, 7–4\n| Yankees win 13 straight home meetings from July 1931 to June 1932 Yankees win 1932 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 14–8\n| Yankees, 9–2\n| Red Sox, 6–5\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 12–10\n| Yankees, 7–4\n| Red Sox, 6–5\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 12–9\n| Tie, 5–5\n| Yankees, 7–4\n|\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 15–7–1\n| Yankees, 9–2\n| Yankees, 6–5–1\n| Yankees win 1936 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 15–7\n| Yankees, 7–4\n| Yankees, 8–3\n| Yankees win 1937 World Series\n|-\n| \n| Tie\n| 11–11–1\n| Yankees, 7–4–1\n| Red Sox, 7–4\n| Yankees win 1938 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 11–8–1\n| Red Sox, 6–5\n| Red Sox, 5–3–1\n| Yankees win 1939 World Series\n|-\n\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 7–4\n| Yankees, 6–5\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9–1\n| Yankees, 8–3–1 \n| Red Sox, 6–5\n| Joe DiMaggio had 56-game hitting streak Ted Williams batted .406 Yankees win 1941 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 12–10\n| Red Sox, 6–5\n| Red Sox, 6–5\n| Yankees lose 1942 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 17–5–1\n| Yankees, 9–2\n| Yankees, 8–3–1\n| Yankees win 1943 World Series\n|-\n| \n| Tie\n| 11–11\n| Yankees, 8–3\n| Red Sox, 8–3\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 16–6 \n| Yankees, 9–2\n| Yankees, 7–4\n|\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 14–8\n| Red Sox, 6–5\n| Red Sox, 8–3\n| Red Sox finish ahead of Yankees in the standings for first time since selling Babe Ruth Red Sox lose 1946 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 8–3\n| Red Sox, 6–5\n| Yankees win 1947 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 14–8\n| Yankees, 6–5\n| Red Sox, 9–2\n| Both teams in hotly-contested pennant race with Cleveland Indians. Red Sox lose to Indians in AL tie-breaker game\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 8–3\n| Red Sox, 6–5\n| Yankees beat Red Sox in season's final 2 games to win pennant Yankees win 1949 World Series\n|-\n\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 8–3\n| Red Sox, 6–5\n| Yankees win 1950 World Series\n|-\n| \n| Tie\n| 11–11\n| Yankees, 9–2 \n| Red Sox, 9–2\n| Yankees win 1951 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 14–8\n| Yankees, 8–3\n| Yankees, 6–5\n| Yankees win 1952 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 11–10\n| Yankees, 6–5\n| Tie, 5–5\n| Yankees win 1953 World Series, their fifth straight title\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9\n| Yankees, 8–3\n| Red Sox, 6–5\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 14–8 \n| Yankees, 7–4\n| Yankees, 7–4\n| Yankees lose 1955 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 14–8 \n| Yankees, 7–4\n| Yankees, 7–4\n| Yankees win 1956 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 14–8\n| Yankees, 6–5\n| Yankees, 8–3\n| Yankees lose 1957 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–9–1\n| Yankees, 7–4–1\n| Red Sox, 6–5\n| Yankees win 1958 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 13–9\n| Yankees, 6–5\n| Red Sox, 8–3\n| \n|-\n\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 15–7\n| Yankees, 8–3\n| Yankees, 7–4\n| Yankees lose 1960 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 13–5\n| Yankees, 8–1 \n| Yankees, 5–4\n| Roger Maris breaks Babe Ruth's single-season home run record vs. Red Sox on season's last dayMLB expansion reduces schedule to 18 meetings per yearYankees win 1961 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 12–6\n| Yankees, 6–3\n| Yankees, 6–3\n| Yankees win 1962 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 12–6\n| Yankees, 7–2\n| Yankees, 5–4\n| Yankees lose 1963 World Series\n|-\n| \n| Tie\n| 9–9\n| Yankees, 5–4\n| Red Sox, 5–4\n| Yankees lose 1964 World Series\n|-\n| \n| Tie\n| 9–9\n| Red Sox, 5–4\n| Yankees, 5–4\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 10–8 \n| Red Sox, 5–4\n| Yankees, 6–3\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 12–6\n| Red Sox, 6–3\n| Red Sox, 6–3\n| Red Sox lose 1967 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 10–8\n| Red Sox, 6–3\n| Yankees, 5–4\n| Red Sox win consecutive season series for the first time since 1911-13\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 11–7\n| Red Sox, 5–4\n| Red Sox, 6–3\n| \n|-\n\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 10–8\n| Red Sox, 5–4\n| Red Sox, 5–4\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 11–7\n| Yankees, 7–2 \n| Red Sox, 5–4\n| \n|-\n| \n| Tie\n| 9–9\n| Yankees, 7–2\n| Red Sox, 7–2\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 14–4\n| Red Sox, 6–3\n| Red Sox, 8–1\n| Munson, Fisk brawl\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 11–7\n| Yankees, 5–4\n| Red Sox, 9–2\n| Red Sox win 11 straight home meetings from August 1973 to July 1974\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 11–5 \n| Red Sox, 6–1\n| Red Sox, 5–4\n| Red Sox lose 1975 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 11–7 \n| Yankees, 7–2 \n| Red Sox, 5–4 \n| Piniella, Fisk brawl Yankees lose 1976 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 8–7 \n| Yankees, 6–2 \n| Red Sox, 5–2\n| MLB expansion reduces season series to 15 meetings per yearYankees win 1977 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 9–7 \n| Red Sox, 4–3 \n| Yankees, 6–3\n| Yankees overcome a 14-game deficit to Red Sox including a 4-game sweep in Fenway in September (\"Boston Massacre\") Teams tie for first in the AL East, Yankees defeat Red Sox in tiebreaker game Yankees win 1978 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 8–5\n| Yankees, 4–3 \n| Yankees, 4–2\n| Schedule reduced to 13 meetings per year as MLB implements \"balanced schedule.\"\n|-\n\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 10–3\n| Tie, 3–3\n| Yankees, 7–0\n| Yankees sweep all games in Boston for first time\n|-\n| \n| Tie\n| 3–3\n| Yankees, 2–1 \n| Red Sox, 2–1\n| Strike-shortened season Yankees lose 1981 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 7–6 \n| Tie, 3–3\n| Red Sox, 4–3\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 7–6 \n| Yankees, 4–3\n| Red Sox, 4–2\n|\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 7–6 \n| Red Sox, 4–2\n| Yankees, 4–3\n| \n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 8–5\n| Yankees, 5–2\n| Tie, 3–3\n| Red Sox win the first five meetings, Yankees win the next eight.\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 10–3\n| Red Sox, 4–2 \n| Yankees, 6–1 \n| Red Sox lose 1986 World Series\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 7–6 \n| Yankees, 4–3 \n| Red Sox, 4–2\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 9–4 \n| Red Sox, 4–2 \n| Red Sox, 5–2\n|\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 7–6 \n| Yankees, 4–3 \n| Red Sox, 4–2\n| \n|-\n\n|-\n| \n| style=\";\" | Red Sox \n| style=\";\" | 9–4\n| Yankees, 4–2\n| Red Sox, 7–0\n| \n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 7–6\n| Red Sox, 4–3 \n| Yankees, 4–2\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 7–6 \n| Yankees, 4-2\n| Red Sox, 5–2\n| \n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 7–6 \n| Yankees, 4–3\n| Tie, 3–3\n|\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 7–3 \n| Yankees, 4–2\n| Yankees, 3–1\n| Strike-shortened season. Strike cancels postseason. Yankees had best regular season record in American League MLB adds Wild Card, allowing for both teams to make the postseason in the same year.\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 8–5\n| Yankees, 6–1\n| Red Sox, 4–2\n| Both teams qualify for postseason for the first time.\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 10–3\n| Red Sox, 4–2 \n| Yankees, 6–1 \n| Yankees win 1996 World Series\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 8–4 \n| Yankees, 4–2 \n| Yankees, 4–2\n| \n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | 7–5 \n| Tie, 3–3 \n| Yankees, 4–2\n| Yankees win 114 games to set AL record (later broken) Yankees win 1998 World Series \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | 8–4 \n| Red Sox, 4–2 \n| Red Sox, 4–2\n| Yankees win 1999 World Series\n|- style=\"background:#f2f2f2; font-weight:bold;\"\n| 1999 ALCS\n| style=\";\" | Yankees\n| style=\";\" | 4–1\n| Yankees, 2–0\n| Yankees, 2–1\n| First postseason meeting, the Red Sox hand the Yankees their only defeat in the 1999 postseason in Game 3.\n|-\n\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | 7–6\n| Red Sox, 4–2\n| Yankees, 5–2\n| Yankees win 2000 World Series\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 8–1 \n| Yankees, 5–4\n| MLB changed to an unbalanced schedule in 2001, resulting in 18-19 meetings per year Yankees lose 2001 World Series\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 5–4\n| Tie, 5–5\n| \n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Tie, 5–5\n| Yankees, 5–4\n| Yankees lose 2003 World Series\n|- style=\"background:#f2f2f2; font-weight:bold;\"\n| 2003 ALCS\n| style=\";\" | Yankees \n| style=\";\" | 4–3\n| Tie, 2–2\n| Yankees, 2–1\n| Game 7 ends on Aaron Boone's 11th inning home run. Rally from a 5–2 deficit in Game 7 while down to their last five outs.\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | \n| Yankees, 5–4\n| Red Sox, 7–3\n| Red Sox win 2004 World Series, their first since 1918\n|- style=\"background:#f2f2f2; font-weight:bold;\"\n| 2004 ALCS\n| style=\";\" | Red Sox\n| style=\";\" | 4–3 \n| Tie, 2–2\n| Red Sox, 2–1\n| Red Sox overcome 3–0 series deficit. Overcome ninth inning deficit in Game 4, and a two-run deficit in the eighth inning of Game 5 to start the comeback.\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 5–4\n| Tie, 5–5\n| Over the final two days of the regular season, the Yankees clinch the AL East, while the Red Sox clinch the AL Wild Card in consecutive head-to-head games.\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Red Sox, 6–4\n| Yankees, 7–2 \n| Yankees sweep a 5-game series at Fenway (\"Son of Massacre\")\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 6–3 \n| Red Sox, 5–4\n| Red Sox win 2007 World Series\n|-\n| \n| Tie\n| 9–9 \n| Red Sox, 5–4 \n| Yankees, 5–4 \n| \n|-\n| \n| Tie\n| 9–9\n| Yankees, 7–2 \n| Red Sox, 7–2 \n| Yankees open the new Yankee Stadium Red Sox win first eight meetings, Yankees win nine of next ten Yankees win 2009 World Series\n|-\n\n|-\n| \n| Tie\n| 9–9\n| Red Sox, 5–4\n| Yankees, 5–4\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | \n| \n| \n| Red Sox miss playoffs despite having 9-game lead in September\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 6–3\n| Yankees, 7–2\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | \n| Red Sox, 7–3\n| Red Sox, 6–3\n| Red Sox win 2013 World Series\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 6–4\n| Yankees, 6–3\n| Both teams miss postseason for first time since 1993\n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Red Sox, 6–4\n| Yankees, 7–2\n| Red Sox win 19-inning game over Yankees on April 10\n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | \n| Yankees, 6–3 \n| Red Sox, 8–2 \n| Red Sox sweep 4-game series in September (\"Boston Massacre II\") \n|-\n| \n| style=\";\" | Yankees \n| style=\";\" | \n| Yankees, 6–4 \n| Yankees, 5–4\n| \n|-\n| \n| style=\";\" | Red Sox\n| style=\";\" | \n| Yankees, 6–3\n| Red Sox, 7–3\n| Red Sox sweep four-game series in August to extend AL East lead from to , effectively taking control of the division. Both teams win 100 games (Red Sox 108, Yankees 100) for first time ever Red Sox win 2018 World Series\n|- style=\"background:#f2f2f2; font-weight:bold;\"\n| 2018 ALDS\n| style=\";\" | Red Sox\n| style=\";\" | 3–1\n| \n| Tie, 1–1\n| Red Sox win Game 3, 16–1, the largest postseason loss in Yankees history. Red Sox 2B Brock Holt hits for the cycle in this game.\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | \n| Yankees, 8–1\n| Yankees, 6–4\n| The teams played two games in London (these were officially Red Sox home games and listed in the \"at Boston Red Sox\" column). The Yankees won both of these games. Most wins for Yankees in season series since 1960.\n|-\n\n|-\n| \n| style=\";\" | Yankees\n| style=\";\" | \n| Yankees, 7–0\n| Yankees, 2–1\n| Season shortened to 60 games (with 10 meetings) due to COVID-19 pandemic. Yankees win 12 straight meetings (September 2019 to September 2020).With a .900 win percentage, this is was the most one-sided season series for the Yankees in the history of the rivalry and the most one-sided season series for either team since . \n|-\n| \n| style=\";\" | Red Sox \n| style=\";\" | \n| Yankees, 5–4 \n| Red Sox, 6–4\n| Red Sox win 8 straight meetings (September 2020 to July 2021) immediately following Yankees' 12-game winning streak in the series. \n|- style=\"background:#f2f2f2; font-weight:bold;\"\n| 2021 ALWC\n| style=\";\" | Red Sox \n| style=\";\" | \n| –\n| Red Sox, 1–0\n| First meeting in the Wild Card Game since MLB added this round in 2012. \n|-\n\n|-\n| Regular Season \n| style=\";\" | Yankees \n| style=\";\" | 1232–1033–14\n| Yankees, 667–460–7\n| Red Sox, 573–565–7\n| \n|-\n| Postseason games \n| Tie \n| 12–12 \n| Tie, 6–6\n| Tie, 6–6\n| \n|-\n| Postseason Series\n| style=\";\" | Red Sox\n| style=\";\" | 3–2\n| \n| \n| \n|-\n| Regular and postseason \n| style=\";\" | Yankees \n| style=\";\" | 1244–1045–14\n| Yankees, 673–466–7\n| Red Sox, 579–571–7\n| \n|-\n\nGeography\nUsing Facebook Like button data, Ben Blatt of the Harvard College Sports Analysis Collective found in 2012 that Red Sox fans are east of the New York State–Vermont/Massachusetts border, and Yankees fans are west. Blatt wrote, \"I had thought that it was possible that Red Sox Nation might extend into northern New York or Yankees territory might extend into Vermont. This turned out not to be the case.” Connecticut divides support between the two teams; he found that 56.6% of Facebook users in Hartford, often cited as being on the border between the two teams' fans, supported the Yankees. While Blatt found that identifying an exact border within the state was impossible, Guilford and Middletown are almost exactly divided, with 50.7% in each city supporting the Yankees.\n\nViolence over rivalry\nThere have been occasions of arrests due to violence over the rivalry. In May 2008, a Yankees fan in Nashua, New Hampshire, was arrested and charged with reckless second-degree murder outside a bar, which resulted from an argument over the rivalry. Later in 2008, a man driving a car with New York license plates in Massachusetts was pulled from his car and savagely beaten because locals suspected the man of being a Yankees fan. During the final series of the 2010 season, Boston Police arrested a Yankees fan for stabbing a Red Sox fan over an argument about the rivalry.\n\nRivalry outside baseball\nDon Mattingly had appeared in public service announcements airing on the Spike TV network advocating fathers to spend time with their children as part of the \"True Dads\" campaign to encourage men to take an active role in their children's lives. Mattingly jokes at the end of the commercial about the impatience of one of the characters in the commercial by calling him a Red Sox fan.\n\nOn April 13, 2008, rumors of a construction worker burying a Red Sox jersey in the concrete of the new Yankee Stadium were verified. The worker, identified as Gino Castignoli, buried a David Ortiz jersey in what would become a service corridor in the hopes of cursing the new stadium. After extracting the jersey from underneath two feet of concrete, Yankees' President Randy Levine indicated that the shirt would be donated to the Jimmy Fund to be auctioned for the charity long associated with the Red Sox. Whatever curse was intended failed to bear fruit with the Yankees winning the World Series in their first year at the new stadium.\n\nPolitics\nOn October 23, 2007, former New York City mayor Rudolph Giuliani, who is a Yankees fan, said at a New Hampshire event for his presidential campaign that he was going to cheer for the Red Sox during their World Series appearance against the Colorado Rockies. Giuliani justified his support of the Red Sox by proclaiming he was a fan of American League baseball. The following day, the New York Post and New York Daily News printed doctored photos of Giuliani as a Red Sox fan on their covers with the headlines \"RED COAT\" and \"TRAITOR!\" respectively. Topps parodied this in a 2008 baseball card altered to depict Giuliani on the field with the Red Sox as the team celebrated their 2007 World Series championship.\n\nA month later, he was asked about his support for the Red Sox by one of the questioners in a Republican Presidential Debate. In response to the mayor's answer, former Massachusetts governor Mitt Romney, who was in office during the Red Sox 2004 win, claimed that all Americans are united in hatred of the Yankees.\n\nGiuliani's successor, Michael Bloomberg, grew up in Boston as a Red Sox fan, but later switched his allegiance to the Yankees after assuming office. However, Bloomberg's successor, Bill de Blasio openly supported the Red Sox World Series run during his 2013 campaign, winning the general election by a huge margin.\n\nDuring the 2010 special Senate election in Massachusetts, Martha Coakley, the Democratic candidate and state Attorney General, faced a mild backlash for deriding Curt Schilling as \"another Yankee fan\" on a local radio show, after Schilling endorsed Coakley's Republican opponent, state senator Scott Brown. Many critics alleged that Coakley's apparent unfamiliarity with Schilling demonstrated a lack of awareness toward her Massachusetts constituents. Schilling responded, \"I've been called a lot of things...but never, I mean never, could anyone make the mistake of calling me a Yankee fan. Well, check that; if you didn't know what the hell is going on in your own state maybe you could.\" Brown, who had polled as much as 30 points behind Coakley a month before the election, had seen a late surge in support prior to Coakley's comments and would eventually win a come from behind victory against her in the election.\n\nOther sports\nIn 2002, when the NFL's New England Patriots held their victory celebration after winning their first Super Bowl; linebacker Larry Izzo fired up the crowd, chanting \"Yankees suck!\" The chant would become a fixture of Patriots Super Bowl victory rallies following their victories in Super Bowls XXXVIII in 2004 and XXXIX in 2005, which were sandwiched around the Red Sox 2004 World Series win. Dan Shaughnessy wrote about the chant: \"Can you imagine a Giants or a Jets celebration in New York City in which a New York player would take the time to chant, 'Red Sox suck? Shaughnessy opined that should such a thing occur, it would be more likely at a Jets celebration, as a Giants celebration, like those of the Mets and the Rangers, would be more likely to feature such chants made in reference to the Philadelphia teams, as one of the Giants' primary rivalries is with the Philadelphia Eagles.\n\nThe rivalry was played out during Super Bowl XLII in February 2008, as it was a showdown between football teams from each metropolitan area, the New York Giants and the New England Patriots. The Giants defeated the Patriots in what was considered one of the greatest upsets in Super Bowl history. After the game Giants fans chanted \"18 and 1! 18 and 1!\", reminiscent of the infamous \"1918\" chant, towards Patriots fans as they left the stadium. (Had they won the game, the Patriots would have become the first NFL team to ever finish with a 19–0 record, and only the second NFL team since the 1972 Miami Dolphins to have a perfect season.) Giants fans called this revenge for the Red Sox comeback in 2004. The Giants and Patriots faced off again in Super Bowl XLVI; with the Giants once again defeating the Patriots. Dan Shaughnessy's piece in The Boston Globe on the Giants victory over the Patriots was headlined, \"History Repeats.\"\n\nDuring the 2008 NBA Finals between the Boston Celtics and the Los Angeles Lakers, movie director Spike Lee, a season ticket holder of the New York Knicks, wore a Yankees jersey and cap at Game 3 of the Finals in Los Angeles. Lee sat behind the Boston bench while loudly cheering for the Lakers, though he has a friendship with Ray Allen of the Celtics.\n\nFor the 2010 NHL Winter Classic outdoor ice hockey game held at Fenway Park, Boston Bruins then-backup goaltender Tuukka Rask had artwork on his \"special event\" goalie mask's upper front area depicting a roaring bear with a ripped New York Yankees home \"pinstripe\" jersey falling from its lower jaw.\n\nIn 2011, NBA star LeBron James worked a deal with Red Sox owner John Henry to take partial ownership of Henry's soccer subsidiary Liverpool Football Club of the Premier League. James was criticized in the New York media for spurning New York due to his being a purported Yankees fan.\n\nOn June 27, 2011, the Yankees/Red Sox feud spilled into the world of professional wrestling when CM Punk was cutting a promo against Boston native John Cena. CM Punk went on to call John Cena a hypocrite for reasons that were unfolding in their respective storyline and said that John Cena had become the very thing he had despised in the wrestling business. He concluded this promo by calling Cena the \"New York Yankees\". Cena then punched Punk for comparing him to his home team's famed rivals. [Punk:] \"What you've lost sight of is what you are, and what you are is what you hate. You're the 10-time WWE Champion! You're the man! You, like the Red Sox, like Boston, are no longer the underdog! You're a dynasty. You are what you hate. You have become the New York Yankees!\" [John Cena immediately punches Punk, who scoots out of the ring, grabs the contract, and goes up the ramp. Points respectively to Vince McMahon and John Cena] \"You're Steinbrenner, and you might as well be Jeter! Mr. 3000, I'm the underdog!\"\n\nRivalries between other New York sports teams and other Boston sports teams have been attributed to the Yankees–Red Sox rivalry. For example, some have pointed out the connections between this rivalry and those of the New York Jets and the New England Patriots in the NFL and the New York Knicks and the Boston Celtics in the NBA.\n\nAs the owners of the Yankees are involved with Mansour bin Zayed Al Nahyan, owner of Manchester City F.C. through City Football Group, as being joint owners of Major League Soccer franchise New York City FC, and the Red Sox being sisters of Liverpool F.C. through their Fenway Sports Group ownership, the 2014 International Champions Cup soccer game between English clubs Manchester City and Liverpool at Yankee Stadium carried a new angle of the Yankees and Red Sox rivalry. Liverpool defeated Manchester City on the day in a penalty shoot-out, after tying 0–0. Both teams have since developed their own rivalry in their home country, which also stems from the inter-city rivalry between Manchester and Liverpool that originated during the Industrial Revolution.\n\nBroadcasts on television\n\nThe nature of the rivalry has led to games between the two teams being broadcast on national television. Whenever the two teams play a weekend series, the Friday game is sometimes broadcast on MLB Network, the Saturday game is broadcast on either Fox or Fox Sports 1, and the Sunday game is broadcast on either MLB Network or TBS in the afternoon or ESPN as part of Sunday Night Baseball; the New England Sports Network in the Boston market and the YES Network in the New York City market always carry games not assigned on either Fox, FS1 (unless specified), or on ESPN's Sunday Night Baseball. Weekday games are generally broadcast on MLB Network, FS1, ESPN, or TBS.\n\nWhen the games are broadcast on Fox, Fox's lead broadcast team of Joe Buck and Tim McCarver call the game. Thus, the duo has called many significant moments in the rivalry. In 2004, the first game of the season between the two teams, on Friday, April 16, was nationally broadcast on Fox, because it marked the first time the two teams were facing each other since the memorable 2003 American League Championship Series. Fox Sports President Ed Goren said of decision to have the game broadcast on Fox: \"If were up to me, we'd take the whole series and come back a week later and carry all their games at Yankee Stadium...We started thinking about this at some point after the Yankees closed the deal with A-Rod. ... This is sort of a relaunch of the season in the middle of April. This is going to be an event.\" MLB Commissioner Bud Selig called the broadcast \"an extension of the postseason brought into April.\" This was the first over-the-air broadcast of a regular season game in prime-time since Mark McGwire hit his 62nd home run to break Roger Maris' record in 1998. In October, when the two teams met in the ALCS, Selig moved Game 5 of the series to primetime due to the rematch.\n\nRatings\nThe broadcasts of the games between the rivals have led to an increase in television ratings. These games have had at least 50% higher ratings than all of the other games broadcast, sometimes almost twice as high than locally broadcast games. In most cases, the most-watched MLB game on any network during a season is a game between the Yankees and the Red Sox.\n\nSince 2003, ratings for Yankees–Red Sox games on Fox have averaged 2.6 percent of homes–44 percent better than other weeks, while ESPN has averaged 3.96 million viewers for Yankees–Red Sox games on Sunday nights, compared to the average of 2.18 million for all other games. Game 7 of the 2003 ALCS drew a 17.1 rating, the highest for a League Championship Series game since Game 6 of the 1993 National League Championship Series.\n\nIn 2004, the first game between the two teams drew a 3.6 national rating, and with an average audience of 5.3 million, it was the most-watched regular-season telecast since Mark McGwire's record-breaking home run game. In 2003, Saturday games on Fox averaged a 2.5 rating; prime-time entertainment got a 3.3, but Goren said that he expected the game \"will perform much higher than those (prime-time) figures\" as a reason to have the game broadcast nationally.\n\nIn 2011, the three-game series between the two teams on the weekend of August 5–7 drew large television viewers. The August 5 game on MLB Network drew 563,000 viewers, making it the second-most watched game on the network, behind Stephen Strasburg's debut. In New York and Boston, it was blacked out because the YES Network had local rights in New York City and NESN in Boston. The August 6 game on Fox was most-watched non-primetime regular season MLB telecast on the network in more than three years with 4.10 million viewers. The last Fox non-primetime telecast to record higher numbers also was Boston vs. New York on July 5, 2008. The Sunday game on ESPN drew 4.72 million viewers, making it the most-watched baseball game on ESPN since June 3, 2007, when both teams faced each other, and the most-watched MLB broadcast of the 2011 regular season on any network.\n\nSee also\n\nMajor League Baseball rivalries\nJets–Patriots rivalry\nCeltics–Knicks rivalry\nBruins–Rangers rivalry\n\nReferences\nInline citations\n\nBibliography\n \n \n \n \n \n \n \n \n\nAnnual events in Major League Baseball\nBoston Red Sox\nMajor League Baseball rivalries\nNew York Yankees" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.", "Did he play in the world series?", "After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6,", "How did he perform in game 6?", "Clemens left the game after 7 innings leading 3-2,", "Did the Red Sox win the game?", "Red Sox went on to lose the game in the 10th inning," ]
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Did they win the 1986 world series?
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Did the Red Sox win the 1986 world series?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
Red Sox went on to lose the game in the 10th inning, and subsequently, the championship.
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
false
[ "The Philippines national basketball team in 2014 led by head coach Chot Reyes first tournament was the 2014 FIBA Asia Cup where they managed to finish third. The team had a series training camps in Miami in the United States, in Antibes, France where they participated in a pocket tournament, and Spain the host country of the FIBA World Cup. They returned to the FIBA World Cup after 36 years last participating in the 1978 edition. The national team did not get past the group stage with only a lone win against Senegal. The win against Senegal was the Philippines first win at the FIBA World Cup since 1974. However the national team did not meet expectations at the Asian Games and failed to reach the medal round. Head Chot Reyes is later replaced by Tab Baldwin who assumed Reyes' former post the next year.\n\nRecord\n\nUniforms\n\nTournaments\n\nFIBA Asia Cup\n\nGroup Stage\n\nQuarterfinals\n\nSemifinals\n\n3rd place\n\nAntibes International Basketball Tournament\n\nFIBA World Cup\n\nGroup Stage\n\nAsian Games\n\nGroup Stage\n\nQuarterfinals - Group H\n\nClassification Round\n\nExhibition games\n\nReferences\n\nPhilippines men's national basketball team results\n2014–15 in Philippine basketball\n2013–14 in Philippine basketball", "The Oakland Athletics, formerly known as the Philadelphia and Kansas City Athletics, are a professional baseball team based in Oakland, California. The Athletics have played in the American League (AL) ever since the league formed in 1901.\n\nThe Athletics have won nine World Series titles, tied for third most in all of Major League Baseball. They are the only team apart from the New York Yankees to complete a World Series “three-peat”, which they did between 1972 and 1974. As the Philadelphia Athletics, the team had a golden period between 1909 and 1914, when they won three World Series, and had three consecutive 100-win seasons between 1929 and 1931 with two further titles. In the period from 1988 to 1990 the Athletics - now based in Oakland - played in three further World Series and won one, while from 1999 to 2006 they had winning records every season but never played in another World Series.\n\nThe Athletics have had some bad periods of failure to counterbalance these golden eras. During and after World War I, the Athletics had nine consecutive losing seasons including the lowest win percentage in post-1900 major league baseball of .235 in 1916 and only 36 wins in 1919. Between 1934 and 1967 in Philadelphia and later Kansas City the team had sequences of thirteen and fifteen consecutive losing seasons and overall won 2,119 games and lost 3,147 for a winning percentage of .402.\n\nThe Athletics have qualified for the postseason 29 times, fourth most among all thirty teams) while having an 18–20 postseason series record. They have reached the World Series fourteen times while having won it nine times.\n\nTable key\n\nSeason-by-season records\n\nRecord by decade \nThe following table describes the Athletics' MLB win–loss record by decade.\n\nThese statistics are from Baseball-Reference.com's Oakland Athletics History & Encyclopedia, and are current through 2021.\n\nAll-time records\n\nThese statistics are from Baseball-Reference.com's Oakland Athletics History & Encyclopedia, and are current as of October 10, 2020.\n\nReferences\n\nExternal links\n Athletics Year-By-Year Results at MLB.com\n Athletics Postseason Results at MLB.com\n\n \nOakland Athletics\nSeasons" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.", "Did he play in the world series?", "After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6,", "How did he perform in game 6?", "Clemens left the game after 7 innings leading 3-2,", "Did the Red Sox win the game?", "Red Sox went on to lose the game in the 10th inning,", "Did they win the 1986 world series?", "Red Sox went on to lose the game in the 10th inning, and subsequently, the championship." ]
C_f72b22142867485089d0addaa85090bd_0
When was Clemens traded?
7
When was Roger Clemens traded by the Red Sox?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
CANNOTANSWER
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
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[ "Paul Clemens (born February 14, 1988) is an American professional baseball pitcher who is a free agent. He previously played in Major League Baseball (MLB) for the Houston Astros, Miami Marlins and San Diego Padres.\n\nEarly years\nClemens attended James W. Robinson, Jr. Secondary School in Fairfax, Virginia where he lettered three years under head baseball coach Bill Evers. While at Robinson, Clemens broke Javier López's single-game strikeout record by recording 16 strikeouts against Socastee High School in Myrtle Beach, South Carolina.\n\nClemens played summer baseball for the Virginia Barnstormers. During his senior year at James W. Robinson, Clemens accepted a baseball scholarship to Western Carolina University, but later decided that junior college was a better option. Clemens attended Louisburg College in North Carolina, where he pitched for two seasons. Clemens' tall frame and naturally live arm attracted the attention of MLB scouts early on in his college career.\n\nProfessional career\n\nAtlanta Braves\nClemens was drafted in the 36th-round (1089 overall) by the San Francisco Giants in 2007, but he chose to return to school for another year. He was drafted by the Atlanta Braves in the seventh round of the 2008 MLB Draft.\n\nHouston Astros\nOn July 31, 2011 Clemens, Jordan Schafer, Brett Oberholtzer and Juan Abreu were traded to the Houston Astros for Michael Bourn.\n\nClemens was added to the Astros 40-man roster on November 18, 2011. In 2013, Clemens earned a 4-6 record. He pitched the last game of the 2013 Houston Astros season when they played the New York Yankees. He lost to former Astro Andy Pettitte in Pettite's last game. Clemens was designated for assignment by the Astros on September 2, 2014.\n\nPhiladelphia Phillies\nClemens signed a minor league deal with the Philadelphia Phillies on November 20, 2014.\n\nKansas City Royals\nHe was then released after making 7 appearances and signed on with the Kansas City Royals.\n\nMiami Marlins\nOn November 30, Clemens signed a minor league deal with the Miami Marlins.\n\nSan Diego Padres\nOn June 28, 2016, Clemens was claimed off waivers by the San Diego Padres.\n\nOn August 6, 2016, Clemens was pulled from the 5th inning of a game against the Philadelphia Phillies for failing to run out a bunt. Earlier in the game, he had gotten pine tar on his original jersey and switched to a new one, number 91, which read \"Player\" on the back. He was released on March 20th, 2017.\n\nMinnesota Twins\nClemens signed with the Minnesota Twins for the rest of the 2017 season. On July 21, 2017, Clemens was released by the Minnesota Twins.\n\nLeones de Yucatán\nOn March 11, 2018, Clemens signed with the Leones de Yucatán of the Mexican Baseball League. He was released on April 23, 2018.\n\nSouthern Maryland Blue Crabs\nOn May 11, 2018, Clemens signed with the Southern Maryland Blue Crabs of the Atlantic League of Professional Baseball. He became a free agent following the 2018 season.\n\nHigh Point Rockers\nOn April 11, 2019, Clemens signed with the High Point Rockers of the Atlantic League of Professional Baseball. He was released on September 16, 2019.\n\nPersonal life\nClemens is married to Marlee Clemens. They have three children.\n\nReferences\n\nExternal links\n\n1988 births\nLiving people\nAmerican expatriate baseball players in Mexico\nBaseball players from Columbia, South Carolina\nClearwater Threshers players\nCorpus Christi Hooks players\nDanville Braves players\nGulf Coast Braves players\nHigh Point Rockers players\nHouston Astros players\nLehigh Valley IronPigs players\nLeones de Yucatán players\nMajor League Baseball pitchers\nMexican League baseball pitchers\nMiami Marlins players\nMississippi Braves players\nMyrtle Beach Pelicans players\nNew Orleans Zephyrs players\nNorthwest Arkansas Naturals players\nOklahoma City RedHawks players\nOmaha Storm Chasers players\nRome Braves players\nSan Diego Padres players\nSouthern Maryland Blue Crabs players\nTiburones de La Guaira players\nAmerican expatriate baseball players in Venezuela\nLouisburg Hurricanes baseball players", "The 1987 Boston Red Sox season was the 87th season in the franchise's Major League Baseball history. The Red Sox finished fifth in the American League East with a record of 78 wins and 84 losses, 20 games behind the Detroit Tigers.\n\nRegular season\n\nHighlights\n June 29, 1987: Wade Boggs had a grand slam, a triple, and seven RBIs in a game against the Baltimore Orioles.\n\nSeason standings\n\nRecord vs. opponents\n\nNotable transactions\n July 23, 1987: Bill Buckner was released by the Red Sox.\n August 21, 1987: Glenn Hoffman was traded by the Red Sox to the Los Angeles Dodgers for a player to be named later (minor league player Billy Bartels).\n September 1, 1987: Don Baylor was traded by the Red Sox to the Minnesota Twins for a player to be named later (minor league player Enrique Rios).\n September 1, 1987: Dave Henderson was traded by the Red Sox to the San Francisco Giants for a player to be named later (Randy Kutcher).\n\nOpening Day lineup\n\nSource:\n\nAlumni game\nOn May 23, the Red Sox held an old-timers game, before a scheduled home game with the Chicago White Sox. The game was themed to celebrate the 75th anniversary of Fenway Park. The Red Sox team included Jim Lonborg, Jimmy Piersall, Luis Tiant, and Ted Williams; they were defeated by a team of other MLB alumni, including Cleveland Indians Hall of Fame inductee Bob Feller, Detroit Tigers pitcher Mark Fidrych, and slugger Dick Allen.\n\nRoster\n\nStatistical leaders \n\nSource:\n\nBatting \n\nSource:\n\nPitching \n\nSource:\n\nAwards and honors\nAwards\nWade Boggs, Silver Slugger Award (3B), AL Player of the Month (June)\nRoger Clemens, American League Cy Young Award\nDwight Evans, Silver Slugger Award (OF), AL Player of the Month (August)\n\nAccomplishments\nWade Boggs, American League Batting Champion, .363\nWade Boggs, Major League Baseball Leader, On-base percentage (.461)\nRoger Clemens, American League Leader, Complete Games (18)\nRoger Clemens, American League Leader, Shutouts (7)\nRoger Clemens, American League Leader, Wins (20)\n\nAll-Star Game\nWade Boggs, Third Base, Starter\nDwight Evans, Outfield, Reserve\nBruce Hurst, Pitcher, Reserve\n\nFarm system \n\nSource:\n\nReferences\n\nExternal links\n 1987 Boston Red Sox team page at Baseball Reference\n 1987 Boston Red Sox season at baseball-almanac.com\n\nBoston Red Sox seasons\nBoston Red Sox\nBoston Red Sox\nRed Sox" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.", "Did he play in the world series?", "After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6,", "How did he perform in game 6?", "Clemens left the game after 7 innings leading 3-2,", "Did the Red Sox win the game?", "Red Sox went on to lose the game in the 10th inning,", "Did they win the 1986 world series?", "Red Sox went on to lose the game in the 10th inning, and subsequently, the championship.", "When was Clemens traded?", "I don't know." ]
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Are there any other interesting aspects about this article?
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Besides the stuff about the 1986 World Series, are there any other interesting aspects about this article?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
he was ejected for arguing balls and strikes with umpire Terry Cooney,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Roger Clemens", "Boston Red Sox", "When did Clemens play with the Red Sox?", "1986", "How did he perform during the 1986 season?", "The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later.", "Did he play in the world series?", "After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6,", "How did he perform in game 6?", "Clemens left the game after 7 innings leading 3-2,", "Did the Red Sox win the game?", "Red Sox went on to lose the game in the 10th inning,", "Did they win the 1986 world series?", "Red Sox went on to lose the game in the 10th inning, and subsequently, the championship.", "When was Clemens traded?", "I don't know.", "Are there any other interesting aspects about this article?", "he was ejected for arguing balls and strikes with umpire Terry Cooney," ]
C_f72b22142867485089d0addaa85090bd_0
What game was he ejected from?
9
What game was Roger Clemens ejected from for arguing with the umpire?
Roger Clemens
In the 1986 American League Championship Series, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3-0 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The 1986 ALCS clincher was Clemens' first postseason career victory. He did not win his second until 13 years later. After a bad start in Game 2 of the 1986 World Series, Clemens returned to the mound for Game 6, which would have clinched the World Series for the Boston Red Sox. Clemens left the game after 7 innings leading 3-2, but the Red Sox went on to lose the game in the 10th inning, and subsequently, the championship. Clemens' departure was highly debated and remains a bone of contention among the participants. Red Sox manager John McNamara claimed Clemens took himself out due to a blister, though Clemens strongly denies that. Clemens greatest postseason failure came in the second inning of the final game of the 1990 ALCS against the Oakland Athletics, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's three-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens had two other playoff no-decisions, in 1988 and 1995, both occurring while Boston was being swept. Clemens' overall postseason record with Boston was 1-2 with a 3.88 ERA, and 45 strikeouts and 19 walks in 56 innings. CANNOTANSWER
in the second inning of the final game of the 1990 ALCS against the Oakland Athletics,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
false
[ "Angel Hernandez Campos (born August 22, 1973) is an American former umpire in Major League Baseball (MLB). He umpired his first major league game on May 3, 2007. He was released after the 2014 season.\n\nUmpiring career\nAngel Campos began his professional umpiring career in the minor leagues in 2000. He umpired his first MLB game on May 3, 2007.\n\nIncidents and notable games\nIn May 2011, Campos ejected Kansas City Royals catcher Matt Treanor from a game against the St. Louis Cardinals. Although the two were exchanging words, Treanor was not facing Campos at the time he was thrown out. Royals manager Ned Yost, who was also ejected, was later quoted as saying, \"Nobody in the park knew that they were arguing. Nobody. And to eject the guy under those circumstances isn't right.\"\n\nIn August 2012, Campos ejected Los Angeles Dodgers outfielder Matt Kemp, who was in the dugout, in the second inning of a game against the Pittsburgh Pirates. Dodgers players admitted to arguing with Campos concerning the strike zone earlier. After a called strike from Pirates pitcher A. J. Burnett was contested, Campos said that he had had enough but moments later, Kemp yelled to teammate Andre Ethier \"let's go, Dre,\" and was ejected by Campos. Dodger manager Don Mattingly was subsequently ejected by first base umpire Tim Tschida, and Campos ejected Dodger starting pitcher Joe Blanton in the fifth inning.\n\nCampos was the second base umpire when San Francisco Giants pitcher Jonathan Sánchez no-hit the San Diego Padres on July 10, 2009.\n\nCampos was also at second base on June 13, 2012, when Giants pitcher Matt Cain threw a perfect game against the Houston Astros.\n\nHealth problem\nIn September 2010, Campos became ill while a rain delay postponed the start of a regular season game between the Minnesota Twins and Cleveland Indians. He was taken to a Cleveland hospital and underwent an emergency appendectomy.\n\nSee also \n\n List of Major League Baseball umpires\n\nReferences \n\nMajor League Baseball umpires\n1973 births\nLiving people\nPeople from Montclair, California", "Albert George Froehlich (November 12, 1887 – September 1, 1916) was an American Major League Baseball catcher. Froehlich played in one game for the Philadelphia Phillies in , taking over for Red Dooin, after he was ejected from the game. Al Froelich was long misidentified as Ben Froelich until 2014.\n\nReferences\n\nExternal links\n\n1885 births\n1941 deaths\nMajor League Baseball catchers\nPhiladelphia Phillies players\nBaseball players from New York (state)\nSportspeople from Brooklyn" ]
[ "Larry Bird", "Post-retirement career" ]
C_9f8396fedf53473f941dd853184b1ac2_1
When did he retire?
1
When did Larry Bird retire?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "Øyvind Gjerde (born 18 March 1977) is a Norwegian former footballer who played for Molde. He has previously played for the clubs Åndalsnes, Lillestrøm and Aalesund.\n\nAfter the 2010 season, when he did not get a new contract with Molde after 7 years in the club, Gjerde announced that he would most likely retire.\n\nReferences \n\n1977 births\nLiving people\nPeople from Møre og Romsdal\nNorwegian footballers\nEliteserien players\nNorwegian First Division players\nAalesunds FK players\nLillestrøm SK players\nMolde FK players\n\nAssociation football defenders", "Max Mnkandla is the President of the Zimbabwe Liberators' Peace Initiative. He fought for the Zimbabwe People's Revolutionary Army (ZIPRA) in the Rhodesian Bush War.\n\nHis father, Siqanywana, died in the Gukurahundi massacres of the 1980s. When Information Minister Nathan Shamuyarira defended the massacres in October 2006, Mnkandla said Shamuyarira's comments show he is \"not only suffering from 1880s hangover — the feeling that the Ndebele also did the same to the Shonas — it also shows that Shamuyarira is now old and should retire.\"\n\nReferences\n\nYear of birth missing (living people)\nLiving people\nZimbabwe People's Revolutionary Army personnel\nZimbabwean politicians" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player." ]
C_9f8396fedf53473f941dd853184b1ac2_1
What was his plan for post retirement?
2
What was Larry Bird's plan for post retirement?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
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[ "Utah Retirement Systems administers pension plans and retirement savings plans for public employees in the U.S. state of Utah. There are eight separate defined-benefit pension plans administered by URS, as well as various retirement savings plans. As of December 31, 2014, the URS was managing over $31 billion in its pension trust funds, for nearly 200,000 members. Besides the pension trust funds, the URS manages a 401(k), 457(b), a traditional IRA and Roth IRA with around $4.5 billion in assets combined at the end of 2014.\n\nMembership \nMembers of the eight URS pension systems are the employees of over 700 different employers. The two largest systems are the Public Employees Noncontributory Retirement Systems, Tier I and Tier II, with 463 participating employers including all of Utah's school districts, the State of Utah, and its counties and various political subdivisions. The old Contributory system has 159 employers, the Public Safety system has 131, and the Firefighters' system has 59 employers. (Tier 2 Public Safety and Firefighters has 149.) There is a separate retirement system for Judges, and one for Governors and Legislators.\n161 employers participate in the URS 457 Savings Plans, and 380 in the 401(k) Plans.\n\nGovernance \nURS is run by a seven-member board whose members are appointed by the governor. Four of the members represent the investment community, one represents the teachers, and one represents state employees. The state treasurer is an ex-officio member of the retirement board.\nThe board appoints the Executive Director. In addition to the Retirement Board, there is an advisory Membership Council made up of representatives from the member employee groups.\n\nHistory \n\nMany public employees in Utah had some kind of pension before the creation of the URS in 1963. As early as 1919, there was a statewide retirement system for firefighters. Many cities had a retirement system for their police in the 1920s. In 1927, prison guards got a retirement system. All of these would eventually be absorbed into URS-administered systems.\nIn 1934, the Utah Education Association drew up a plan for a retirement system for teachers. This became the basis for the Teachers' Retirement System, which went into effect in 1937, covering both teachers and administrators.\nThe \"State Officers' and Employees' Retirement System of Utah,\" later named the Public Employees' Retirement System, was created in 1947. Also, optional state coverage was established for judges and local government employees.\n\nIn 1963, joint administration was established for public employees and teachers systems. The School Employees System, Public Employees System, Judges System, Public Safety System (including Highway Patrol), Prison Guards System, former Employee Retirement System, and Firefighters System were placed under a single board. The Public employees and Teachers Employees systems were consolidated into the State Retirement System. This was the creation of the URS. Later, in the 1970s, Utah Firefighters System and Judges System were added. Also, the Utah Legislature established a subcommittee on Retirement.\n\nIn the 1980s, custody of the Retirement funds was transferred to the Retirement Board from the State Treasurer, and the Retirement System became an independent agency. The Retirement Board was restructured, altering the board membership and establishing a membership council. A system for judges was added in the 1990s.\n\nIn 2010, the Utah legislature created a \"Tier II\" retirement plan for new employees, with a smaller benefit than the old plan. The motivation was to avoid the pension problems that have affected or threatened to affect many other jurisdictions.\n\nPeople hired after July 1, 2011, choose either a traditional pension plan or a 401(k)-type plan, with the state contributing 10 percent of an employee's salary (12 percent for uniformed workers) to whichever plan a worker chooses. Employer contributions to the pension plan for new employees are capped at 10% of the employees salary. The 'Tier II' plans require 5 more years of employment for eligibility. The legislature also limited post-retirement re-employment.\n\nReferences\n\nExternal links \n URS website\n\nGovernment of Utah\nRetirement in the United States\nPublic pension funds in the United States", "Deepak Chopra is a Canadian businessman who was, from January 18, 2011, until March 31, 2018, the President and chief executive officer of Canada Post Corporation. Chopra is a certified general accountant and a member of the Certified General Accountants of Ontario. In 2009, he was named a Fellow of the Certified General Accountants of Canada. He served from January 2011 to March 2018. Previously he was the President and chief executive officer of Pitney Bowes Canada and Latin America.\n\nChopra was appointed to these roles by the Conservative government of Stephen Harper on January 18, 2011, for a five-year term from February 1, 2011, to January 31, 2016. Chopra took over the post from Stewart Bacon, who returned from retirement as interim president and CEO in July 2010 when then-CEO Moya Greene left to take over Britain's national carrier, the Royal Mail. This appointment was renewed by Harper's government in July 2015, just before the scheduled federal election in October 2015, for a five-year term starting February 2016 at an approximate salary of $500,000.\n \nIn 2013, Canada Post, led by Chopra, introduced the extremely unpopular plan of eliminating door-to-door delivery of mail and converting to \"community mail boxes.\" This plan was opposed by all federal parties except the Conservatives during the Canadian Federal Election of 2015. The plan was stopped by the Liberal Party after they won the election.\n \nFollowing the 2015 federal election, Chopra was asked to resign and re-apply for his position by the newly elected government of Justin Trudeau. Chopra refused in a letter written by Sian Matthews, chair of the board of directors for Canada Post. In the summer of 2017, he announced that he would be stepping down on March 31, 2018, three years before his term was originally due to expire. He was succeeded, on an interim basis, by Jessica McDonald, former CEO of BC Hydro, effective April 2, 2018.\n\nReferences\n\nExternal links\nBiography of Deepak Chopra at Canada Post Corporation\n\nCanada Post\nCanadian accountants\nCanadian chief executives\nCanadian people of Indian descent\nLiving people\nPlace of birth missing (living people)\nDelhi University alumni\nYear of birth missing (living people)" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season." ]
C_9f8396fedf53473f941dd853184b1ac2_1
Did he promote his book?
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Did Larry Bird promote his autobiography, Drive: The Story of My Life with Bob Ryan?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
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Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "Foley Is Good: And the Real World Is Faker Than Wrestling is the second autobiography (2001) of wrestler Mick Foley, formerly of WWE and TNA. It details his career from January 1999 until his retirement in April 2000 at WrestleMania 2000.\n\nHistory\nAs in his first book, Foley wrote this one without the aid of a ghostwriter.\n\nPlot\nThe book covers the last years of Mick Foley's in-ring wrestling career up until the birth of his second son, Michael Francis Foley, Jr., which he mentions in the book's epilogue. It has a more celebratory tone than his first book, as he is writing about the time of his career where he has already achieved success. The book alternated between in-ring wrestling activities and Foley's life away from the ring. In the book, he also describes his obsessions, such as theme parks and Christmas.\n\nHe also writes about his experience writing his first book without the aid of a ghostwriter. He defends himself against being misquoted by news program 20/20, and explains the events surrounding his \"I Quit\" match with The Rock at the Royal Rumble in January 1999, which can also be seen in the documentary Beyond the Mat.\n\nThe book also heavily defends the World Wrestling Federation against accusations of being violent. Foley made an effort to pointedly refute claims made by detractors, citing statistical data and other evidence he compiled himself. He criticizes the actions of the Parents Television Council.\n\nPromotion\nTo promote the book, Foley appeared on The Howard Stern Show and did a ten-city book signing tour.\n\nAfter three press runs, the book had approximately 230,000 copies in print. In May 2001, the book was the number one nonfiction book on The New York Times bestseller list.\n\nReferences\n\nSources\n\n2001 non-fiction books\nProfessional wrestling autobiographies", "Zero to One: Notes on Startups, or How to Build the Future is a 2014 book by the American entrepreneur and investor Peter Thiel co-written with Blake Masters. It is a condensed and updated version of a highly popular set of online notes taken by Masters for the CS183 class on startups, as taught by Thiel at Stanford University in Spring 2012.\n\nPromotion\nTo promote the book, Peter Thiel sent out his first tweet ever (and only) on September 8, 2014, from a Twitter account that had been dormant for years. He was also interviewed by Alexia Tsotsis of TechCrunch. On September 9, Thiel did a podcast with Timothy Ferriss for the latter's show. On September 11, Thiel did an Ask Me Anything on Reddit.\n\nOn September 13, Thiel appeared on NPR with host Wade Goodwyn to discuss the book.\n\nReception\nIn the Atlantic, Derek Thomson describes Thiel's book as possibly the best business book he has ever read. In his review article, he wrote: \"Peter Thiel's new book, Zero to One, shines like a laser beam. Yes, this is a self-help book for entrepreneurs, bursting with bromides and sunny confidence about the future that only start-ups can build. But much more than that, it's also a lucid and profound articulation of capitalism and success in the 21st century economy\" and \"it's surprising in a wonderful way just how simple Zero to One feels. Barely 200 pages long, and well lit by clear prose and pithy aphorisms, Thiel has written a perfectly tweetable treatise and a relentlessly thought-provoking handbook\".\n\nPublishers Weekly wrote of the book: \"Thiel touches on how to build a successful business, but the discussion is too abstract to offer much to the next Steve Jobs—or Peter Thiel.\"\n\nIn November 2014, Timothy B. Lee reviewed the book for Vox.com, writing that although Thiel's book contained some good advice, he made the advice sound more contrarian than it really was, did not provide sufficiently concrete advice, and made some questionable claims.\n\nIn The New Atlantis, James Poulos compares Thiel to Frederich Nietzsche and argues Thiel, \"the most political and theoretical of the supernerds,\" writes esoterically in Zero to One, when he \"raises the prospect of a remarkably comprehensive failure among our best and brightest.\"\n\nReferences\n\nExternal links\n\n2014 non-fiction books\nBusiness books\nBooks about companies\nEntrepreneurship" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know." ]
C_9f8396fedf53473f941dd853184b1ac2_1
What other activities did he get into post-retirement career-wise?
4
Aside from writing his autobiography, what other activities did Larry Bird get into post-retirement career-wise?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
true
[ "Willie M. Wise (born March 3, 1947) is an American former professional basketball player.\n\nCareer \nA 6'6\" forward from Drake University, Wise earned a spot on the American Basketball Association's (ABA) Los Angeles (later Utah) Stars in 1969. He would prove to be one of the best all-around players in the league, as he was both a proficient scorer (19.2 points per game during his ABA career) and a highly esteemed defender. Indeed, while playing for the Stars, who won the 1971 ABA Championship, Sports Illustrated described him as \"the best two-way performer in pro basketball\". Wise later played with the Virginia Squires.\n\nWise was a prime-time player. During his pro career he saw action in 552 regular-season games and averaged 17.6 points, 8.3 rebounds, 2.9 assists and 1.16 steals. He increased those numbers to 19.8 points, 9.1 rebounds, 3.1 assists and 1.39 in 74 postseason contests. He was a two-time All-ABA Second Team selection and a two-time All-ABA Defensive First Team choice.\n\nAfter the ABA–NBA merger in 1976, Wise played one full season and part of a second in the National Basketball Association as a member of the Denver Nuggets and Seattle SuperSonics. The SuperSonics waived Wise in November 1977, signaling the end of his playing career.\n\nOn 7 February 2009, Drake University retired Wise's #42 jersey that he wore for the Bulldogs.\n\nRetirement \nWise is among the former ABA players who are fighting the NBA to receive fair treatment from their pension fund.\n\nWise maintains pride in the way ABA teams played the game and influenced the way the NBA has evolved into a more free-flowing style that resembles the ABA.\n\n\"We practically pioneered the Golden State Warriors. The way they play is the way we played in the ’60s and ’70s, and the NBA’s adoption of the 3-point line after much wrangling back and forth — because there were a lot that did not want it because they thought it was just an ABA gimmick to get people into the stands; let’s give them three points for a shot from a certain distance rather than just two, and the old guard in the NBA didn’t want it and fought against it, Red Auerbach being one, Dick Motta from the Bulls being another, and I want to say, but I’m not certain about this one, Jerry Colangelo. There were a number of coaches that fought it and finally the NBA adopted it (for the 1979-80 season), and it just grew and grew…\"\n\nReferences\n\nExternal links\n\nCareer stats at basketball-reference.com\nPlayer profile at Remember the ABA\n\n1947 births\nLiving people\nAfrican-American basketball players\nAmerican men's basketball players\nBasketball players at the 1969 NCAA University Division Final Four\nBasketball players from San Francisco\nCity College of San Francisco Rams men's basketball players\nDenver Nuggets players\nDrake Bulldogs men's basketball players\nLos Angeles Stars players\nSan Francisco Warriors draft picks\nSeattle SuperSonics players\nSmall forwards\nUtah Stars players\nVirginia Squires players\n21st-century African-American people\n20th-century African-American sportspeople", "Charlie Wise was a Central Intelligence Agency official who played a role in the agency's torture program. Prior to his resignation, in 2003, Wise was the CIA's Chief of Interrogations.\n\nWise is said to have been one of the few individuals who were officially authorized to use the torture technique known as Waterboarding.\n\nIn December 2014, when the Senate's Intelligence Committee released a 600-page summary of its report on the CIA's use of torture, The Washington Post reported that Wise had called the program a “train [wreck] waiting to happen”. They reported he said “I intend to get the hell off the train before it happens.” According to the Washington Post, he subsequently voluntarily left the program, and resigned from the CIA.\n\nHowever, on January 25, 2020, while testifying before a Guantanamo Military Commission over his own role in the torture program, outside psychologist James Mitchell said Wise was more extreme than he was, that he went far beyond the authorized techniques. Mitchell testified that he was one of the whistleblowers who reported Wise to the CIA's Inspector General. Mitchell testified that CIA HQ reassigned Wise after receiving those reports.\n\nMitchell testified that, when he arrived at the torture sites, Wise referred to himself as \"the New Sheriff\", symbolic of Wise's plans to take over the program.\n\nAccording to The Washington Post, Wise had played a role in interrogations that used torture, in Beirut.\nAccording to The Guardian Wise had taught The Contras how to torture, in Nicaragua.\nAccording to Vice magazine Wise was responsible for introducing \"anal feeding\", a technique tantamount to anal rape, into interrogations.\n\nWise suffered a fatal heart attack weeks after his resignation.\n\nReferences\n\nYear of birth missing\n2003 deaths\nPeople of the Central Intelligence Agency" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997." ]
C_9f8396fedf53473f941dd853184b1ac2_1
Why did it only last until 1997?
5
Why did Larry Bird's employment with the Celtics as a special assistant in the team's front office only last until 1997?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years.
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
true
[ "\"Llangollen Market\" is a song from early 19th century Wales. It is known to have been performed at an eisteddfod at Llangollen in 1858.\n\nThe text of the song survives in a manuscript held by the National Museum of Wales, which came into the possession of singer Mary Davies, a co-founder of the Welsh Folk-Song Society.\n\nThe song tells the tale of a young man from the Llangollen area going off to war and leaving behind his broken-hearted girlfriend. Originally written in English, the song has been translated into Welsh and recorded by several artists such as Siân James, Siobhan Owen, Calennig and Siwsann George.\n\nLyrics\nIt’s far beyond the mountains that look so distant here,\nTo fight his country’s battles, last Mayday went my dear;\nAh, well shall I remember with bitter sighs the day,\nWhy, Owen, did you leave me? At home why did I stay?\n\nAh, cruel was my father that did my flight restrain,\nAnd I was cruel-hearted that did at home remain,\nWith you, my love, contented, I’d journey far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nWhile thinking of my Owen, my eyes with tears do fill,\nAnd then my mother chides me because my wheel stands still,\nBut how can I think of spinning when my Owen’s far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nTo market at Llangollen each morning do I go,\nBut how to strike a bargain no longer do I know;\nMy father chides at evening, my mother all the day;\nWhy, Owen, did you leave me, at home why did I stay?\n\nOh, would it please kind heaven to shield my love from harm,\nTo clasp him to my bosom would every care disarm,\nBut alas, I fear, 'tis distant - that happy, happy day;\nWhy, Owen, did you leave me, at home why did stay?\n\nReferences\n\nWelsh folk songs", "\"Born To Live, Born To Die\" was the last charting single for The Foundations. It made it to number 46 on the UK Singles Chart in September 1969. It was written by Foundations trombone player Eric Allandale and The Foundations. The B-side was composed by the group's organist Tony Gomez.\n\nIn the Netherlands it went to number 28 for one week.\n\nEditions\n The Foundations - \"Born to Live, Born to Die\" / \"Why Did You Cry\" - PYE 7N 17809 1969 - (UK)\n The Foundations - \"Born to Live, Born to Die\" / \"Why Did You Cry\" - UNI 55162 1969 - (US)\n\nReferences\n\n1969 singles\nPye Records singles\nThe Foundations songs\nSongs written by Eric Allandale\n1969 songs" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.", "Why did it only last until 1997?", "In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years." ]
C_9f8396fedf53473f941dd853184b1ac2_1
Was he received as a good coach?
6
Was Larry Bird received as a good coach of the Indiana Pacers?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season,
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "Max Good (born July 16, 1941) is an American basketball coach. He is the former head men's basketball coach at Loyola Marymount University. He was promoted from his assistant's job to replace Bill Bayno, who resigned due to illness after three games into the 2008–09 season, his first and only season with the Lions. Good also replaced Bayno for the 2000–01 season at UNLV after Bayno was dismissed as head coach.\n\nPrior to arriving at Loyola Marymount, Good spent seven seasons as the head coach at Bryant University, where he led the Bulldogs to five-straight NCAA Division II Sweet 16 finishes, as well as an NCAA Division II Championship runner-up finish in 2004–05.\n\nAfter leading the Lions to an 18–15 overall record (9–7 in conference), Good was named West Coast Conference Coach of the Year for 2009-10 season by Collegeinsider.com. The 18 wins were the most by Loyola Marymount since 1996. The 15-game turnaround from last season's 3–24 campaign was the second-largest in the nation, as well as the second-largest turnaround in LMU history.\n\nOn March 17, 2010, Good led the Lions against the University of the Pacific Tigers at LMU's Gersten Pavilion. This was the Lions' first post-season tournament under Good and its first since 1990.\n\nPrior to joining the Lions as an assistant, Good led Bryant University to a 132–86 record in seven seasons. In his last year at Bryant, the Bulldogs earned an NCAA Division II Tournament berth for the fifth consecutive year. When Good was named head coach at Bryant in 2001, he inherited a program that had four straight losing seasons. He posted a 17–14 record in his second season and Bryant was named Most Improved team by the New England Basketball Coaches. By 2004 season, Good lead the Bulldogs to 23 wins, earning the school's first NCAA tournament berth in 24 years. They advanced to the Sweet Sixteen. In his fourth year, Good led Bryant to a 25–9 record. They played in NCAA Division II Championship, falling to Virginia Union in the title game, 63–58.\n\nGood came to Bryant after spending the 2000–01 season as the interim head coach at the University of Nevada, Las Vegas (UNLV). He posted a record of 13–9 in his one season with the Runnin' Rebels. He joined the UNLV staff in 1999–00 as an assistant.\n\nPrior to joining the UNLV staff, Good served as the head coach at Maine Central Institute (MCI) for 10 seasons (1989–1999). He compiled a 275–30 (.902) record over that span. MCI was five times the New England Prep School Athletic Conference champion during his tenure. MCI captured back-to-back conference championships (1997–1999). They were 69–4 over those two years (35–0 and 34–4). Good's MCI teams went undefeated three times (26–0 in 1989–90, 24–0 in 1990–91, and 35–0 in 1997–98). From 1989 to 1992, Maine Central Institute compiled 79 straight victories. His 1992 squad was 29–1.\n\nHis coaching background includes five seasons as the assistant coach at Eastern Kentucky University in Richmond, Kentucky (1976–1981). He replaced Ed Bhyre as head coach in 1981 and served through 1989. His overall record at EKU was 96–129 (.427). He carded a 19–11 record in 1987 and was named the Ohio Valley Conference Coach of the Year. In 1988, the Colonels went 18-11.\n\nGood began his coaching career at Madison High School in Richmond, Kentucky in 1970. He served as the junior varsity coach for three seasons (1970–1973) and then served three seasons (1973–7196) as the head coach. His 1975 team finished 23–6 and was ranked as a top ten team in Kentucky by the Associated Press.\n\nReferences\n\nExternal links\n Pratt Community College profile\n\n1941 births\nLiving people\nAmerican men's basketball coaches\nBryant Bulldogs men's basketball coaches\nEastern Kentucky Colonels men's basketball coaches\nHigh school basketball coaches in the United States\nJunior college men's basketball coaches in the United States\nLoyola Marymount Lions men's basketball coaches\nUNLV Runnin' Rebels basketball coaches", "Paul Grover White (November 13, 1921 – June 3, 1974) was an American football player and coach. He played college football as a halfback for Fritz Crisler's University of Michigan Wolverines football teams in 1941, 1942, 1943, and 1946 — missing the 1944 and 1945 seasons due to military service. He served as the captain of the 1943 Michigan team that compiled a record of 8–1 (6–0 Big Ten) and finished the season ranked No. 3 in the AP Poll. In 1944, he received Michigan's Big Ten Medal of Honor as the who had best demonstrated proficiency in scholarship and athletics. He also played professional football for the Pittsburgh Steelers in 1947. He played in 11 games for the Steelers, gaining 240 all-purpose yards and scoring one touchdown. His longest run in the NFL was good for a 52-yard gain. In 1949, he served as the backfield coach at Hillsdale College. In March 1950, he was hired as the backfield coach at the University of Connecticut.\n\nReferences\n\n1921 births\n1974 deaths\nAmerican football halfbacks\nUConn Huskies football coaches\nHillsdale Chargers football coaches\nMichigan Wolverines football players\nPittsburgh Steelers players\nWestern Michigan Broncos football coaches\nPeople from Wadley, Georgia\nPeople from Marquette, Michigan" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.", "Why did it only last until 1997?", "In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years.", "Was he received as a good coach?", "Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season," ]
C_9f8396fedf53473f941dd853184b1ac2_1
Did they win any awards with him coaching?
7
Did the Indiana Pacers win any awards with Larry Bird coaching?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals.
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "The 2000–01 Louisville Cardinals men's basketball team represented the University of Louisville in the 2000–01 NCAA Division I men's basketball season, the university's 87th season of intercollegiate competition. The head coach was Denny Crum and the team finished the season with an overall record of 12-19. It was Crum's last season as head coach of Louisville, ending the longest tenure of any Louisville head basketball coach. Crum also became the winningest coach of the Louisville basketball team during his 30-year coaching career, with 675 wins. Rick Pitino replaced Crum after the season ended.\n\nRegular season\nThe Cardinals began their regular season on November 17 with an 86-71 win over Hawaii. However, the Cardinals went on a five-game losing streak from November 22 until an 86-70 win over Loyola (Chicago) ended the streak on December 18. They won again on December 21 by a score of 89-86 over Murray State, but lost the next four games between December 23 and January 10, 2001. The Cardinals never won more than two games in a row, with their largest losses coming against Alabama by a score of 100-71 on November 30, and against Charlotte by a score of 106-72 on February 11.\n\nPostseason\nOn Wednesday March 7, 2001, the Cardinals played UAB for the first round of the Conference USA Tournament. Led by Murry Bartow, the Blazers defeated the Cardinals 71-64, leaving the Cardinals with a final record of 12-19 The Cardinals did not play in the NCAA Tournament.\n\nAwards\nLouisville distributed the following awards at the end of the season:\nPeck Hickman Most Valuable Player Award\nMarques Maybin\nMost Improved Player\nRashad Brooks\nMost Three Points Awards\nReece Gaines\nMost Assists Awards\nReece Gaines\nBest Defensive Player\nJoseph N'Sima\nBest First-Year Player\nJoseph N'Sima\nRebound Award\nJoseph N'Sima\nBest Field Goal Percentage Award\nHajj Turner\nBest Free-Throw Percentage\nErik Brown\nScholar-Athlete Award\nMuhammed Lasege\nMost Inspirational Player Award\nBryant Northern\nCoaches' Award\nSimeon Naydenov\n\nCoaching change\nAt the end of the season, coach Denny Crum retired from coaching the Cardinals, with the original announcement coming on March 2, 2001. The soon-to-be coach Rick Pitino visited the campus on March 14, 2001. He held his first press conference on March 23, 2001 at 6:30 PM EDT. On April 17, a rally was held commemorating the new head coach. Two days later, Pitino completed the basketball staff.\n\nReferences\n\nLouisville Cardinals men's basketball seasons\nLouisville\nLouisville Cardinals men's basketball, 2000-01\nLouisville Cardinals men's basketball, 2000-01", "John Gagliardi ( ; November 1, 1926 – October 7, 2018) was an American football coach. He was the head football coach at Saint John's University in Collegeville, Minnesota, from 1953 until 2012. From 1949 to 1952, he was the head football coach at Carroll College in Helena, Montana. With a career record of 489–138–11, Gagliardi has the most wins of any coach in college football history. His Saint John's Johnnies teams won four national titles: the NAIA Football National Championship in 1963 and 1965, and the NCAA Division III Football Championship in 1976 and 2003. Gagliardi was inducted into the College Football Hall of Fame in 2006.\n\nEarly life\nJohn Gagliardi was born to Ventura and Antonietta Gagliardi in Trinidad, Colorado, in 1926. He began coaching football at Trinidad Catholic High School in 1943, at the age of 16, when his high school coach was called into service during World War II. He was a player-coach his senior year of high school and continued to coach high school football at St. Mary's High School while obtaining his college degree at Colorado College in Colorado Springs.\n\nCollege coaching career\nAt the age of 22, with six years of high school coaching, Gagliardi was hired at Carroll College in Helena, Montana. In four seasons as head coach at Carroll, Gagliardi compiled a 24–6–1 record, winning three Montana Collegiate Conference championships. After the 1952 season, Gagliardi left Carroll for Saint John's University in Collegeville, Minnesota.\n\nPro Football Hall of Fame player Johnny \"Blood\" McNally coached football at St. John's from 1950 to 1952. On leaving the job he said \"Nobody can win at St. John's.\"\n\nIn 60 seasons coaching the Saint John's Johnnies, Gagliardi won a school and conference record 27 Minnesota Intercollegiate Athletic Conference (MIAC) titles and four national championships: in 1963 (at the Camellia Bowl),\n1965, 1976, and 2003. His record at Saint John's was 465–132–10, bringing his career college football mark to 489–138–11.\n\nOn November 8, 2003, Gagliardi broke the record for career coaching wins with his 409th victory, passing Grambling State's Eddie Robinson. The 13,107 fans who witnessed the victory over Bethel at Saint John's Clemens Stadium were the largest crowd in NCAA Division III history. The win also gave Saint John's its 23rd MIAC championship and an automatic berth in the NCAA Division III playoffs. The Johnnies went on to win the national championship with a 24–6 victory over Mount Union.\n\nIn 1993, Jostens and the J Club of St. John's University began awarding the Gagliardi Trophy annually to the most outstanding player in NCAA Division III. On August 11, 2006, Gagliardi and Florida State's Bobby Bowden became the first active head coaches to be enshrined in the College Football Hall of Fame. (Nevada's Chris Ault had been inducted in 2002 and returned to coaching two years later.)\n\nGagliardi was known for his unique coaching approach, which he called \"Winning with No's.\" He instructed his players not to call him \"coach\", did not use a whistle or blocking sleds, prohibited tackling in practices, did not require his players to lift weights, and limited his team practices to 90 minutes.\n\nGagliardi announced his retirement from coaching on November 19, 2012. Gagliardi died on October 7, 2018, at the age of 91.\n\nAwards\nIn 2003, Gagliardi received the Amos Alonzo Stagg Coaching Award from the United States Sports Academy. He won the 2007 Liberty Mutual Division III Coach of the Year. In 2009, Gagliardi won the Amos Alonzo Stagg Award from the American Football Coaches Association. Gagliardi received the National College Football Awards Association's (NCFAA) Contributions to College Football Award in 2013. He was inducted into the National Association of Collegiate Directors of Athletics Hall of Fame in 2006, the Colorado Sports Hall of Fame in 2015, and Saint John's University's J-Club Hall of Honor in 2018.\n\nHead coaching record\n\nCollege football\n\nSee also\n List of college football coaches with 200 wins\n List of college football coaches with 30 seasons\n\nFurther reading\n\nReferences\n\nExternal links\n Saint John's profile\n \n \n\n1926 births\n2018 deaths\nCarroll Fighting Saints athletic directors\nCarroll Fighting Saints football coaches\nCarroll Fighting Saints men's basketball coaches\nSaint John's Johnnies athletic directors\nSaint John's Johnnies football coaches\nSaint John's Johnnies men's ice hockey coaches\nHigh school football coaches in Colorado\nCollege Football Hall of Fame inductees\nColorado College alumni\nPeople from Trinidad, Colorado\nCoaches of American football from Colorado\nBasketball coaches from Colorado" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.", "Why did it only last until 1997?", "In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years.", "Was he received as a good coach?", "Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season,", "Did they win any awards with him coaching?", "He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals." ]
C_9f8396fedf53473f941dd853184b1ac2_1
Was this the last thing he did in his tenure as their coach?
8
Was leading the Indiana Pacers to two consecutive Central Division titles in 1999 and 2000 the last thing Larry Bird did in his tenure as coach of the Indiana Pacers?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
Bird resigned as Pacers coach shortly after the end of the 2000 season,
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "This is a list of college football head coaches with non-consecutive tenure, meaning that an individual was a head coach at a college or university for a period, departed, and then returned to the same college or university in the same capacity.\n\nThis list includes only head coaches. This list does not include the following:\n Head coaches whose break in tenure was due to a temporarily suspended football program with no other coach during the break in tenure. Most such cases involve programs that halted play for World War I (including the flu pandemic linked to that conflict), World War II, or COVID-19. Another recent example is Bill Clark, head coach at UAB since 2014. UAB dropped football after his first season at the school, but announced six months later that it would reinstate the sport, eventually resuming play in 2017. Clark was under contract to UAB throughout the program's hiatus.\n Coaches who left and returned to an administrative capacity in the title of \"head coach\" but did not coach any games, such as when Tom Osborne temporarily named himself head coach while athletic director for the Nebraska Cornhuskers until Bo Pelini was hired in 2007.\n Coaches whose break in tenure was due to a medical or personal leave, with no new permanent head coach having been hired. A recent example is Joe Moglia, head coach at Coastal Carolina from 2012 to 2018. He went on a medical leave shortly before the 2017 season, and returned to coaching in 2018. During the 2017 season, offensive coordinator Jamey Chadwell was interim head coach, but was not hired as the permanent replacement at that time; he would succeed Moglia after the latter retired after the 2018 season.\n Coaches who were hired as interim head coaches while the permanent head coach was on a personal or medical leave, such as Chadwell.\n\nSeveral College Football Hall of Fame coaches have made the list, accenting not only their return to the same program but the success their return brought to the program. Critics have pointed out that returning coaches appear to be less successful at producing winning teams and programs during their second tenure and make comparisons to previous records of coaches attempting to return to a prior coaching job.\n\nFootnotes\n\nReferences", "Kenneth Kwok Kar Lok (; born 14 March 1980) is a Hong Kong football coach and former player.\n\nHe is the son of former Taiwan international Kwok Kam-hung.\n\nClub career\nKwok did not have a successful football playing career, while he only played for the newly-promoted side HKFC in the 2010–11 season.\n\nManagerial career\n\nPegasus\nIn 2012, Kwok joined Pegasus as an assistant coach alongside Chan Chi Hong.\n\nHong Kong youth teams\nIn 2015, Kwok was appointed as the head coach of Hong Kong U-17 and Hong Kong U-20. \n\nIn August 2017, Kwok was appointed as the head coach of Hong Kong B, leading the team to defeat Macau in the 73rd Hong Kong–Macau Interport by 4–0. In December of the same year, he led the team to win the title of the 2018 Guangdong–Hong Kong Cup after beating Guangdong in the penalty shoot-out. \n\nIn April 2018, Kwok was appointed as the head coach of Hong Kong U-23 to participate in the 2018 Asian Games. His team was finally knocked out in the Round of 16. \n\nIn December 2018, he was appointed as the head coach of Hong Kong B again to play against Guangdong in the 2019 Guangdong–Hong Kong Cup. His team won 5–2 in aggregate eventually and successfully defended the champion.\n\nYuen Long\nIn July 2018, he was appointed as the head coach of Yuen Long. He led the club to finish 7th in the league, and his team was deemed as the overachiever of the league in the 2018–19 season. He left the club after the end of the season.\n\nTai Po\nIn July 2019, Kwok was appointed as the co-head coach of Tai Po, along with Fung Hoi Man. However, he resigned only three months later, in November 2019.\n\nSecond tenure at Yuen Long\nOn 1 February 2020, Kwok returned to Yuen Long, signing a contract until 31 May.\n\nSecond tenure at Pegasus\nOn 10 May 2020, Pegasus reached an agreement to hire Kwok as their next head coach. He signed a two year contract with the club.\n\nReferences\n\n1980 births\nHong Kong footballers\nHong Kong people\nHong Kong football managers\nHong Kong First Division League players\nHong Kong FC players\nAlumni of the City University of Hong Kong\nAlumni of the University of Hong Kong\nLiving people\nAssociation football defenders" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.", "Why did it only last until 1997?", "In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years.", "Was he received as a good coach?", "Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season,", "Did they win any awards with him coaching?", "He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals.", "Was this the last thing he did in his tenure as their coach?", "Bird resigned as Pacers coach shortly after the end of the 2000 season," ]
C_9f8396fedf53473f941dd853184b1ac2_1
Did he continue his success as coach there?
9
Did Larry Bird continue his success after resigning as coach of the Indiana Pacers?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
In 2003, he returned as the Pacers' president of basketball operations,
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "Mike Hodges (born November 14, 1945) is a former American football player and coach. He served as the head football coach at the University of Massachusetts Amherst from 1992 to 1997, compiling a record of 35–30.\n\nCoaching career\nHodges served as an assistant coach and a defensive coordinator at UMass for 14 years, under three different head coaches. Following the 1991 season he was named the school's head coach after Jim Reid resigned following budget disagreements with administration.\n\nAs head coach, he compiled a 35–30 overall record, including a 36–14 victory over Rhode Island in the 1993 Wild Geese Classic in-season bowl game. The game was held overseas in Limerick, Ireland. Hodges resigned as coach after a 2–9 season in 1997.\n\nAfter resigning as head coach, Hodges served as the Director of Football Operations for UMass until his retirement in 2011. Although Hodges did not produce an overwhelming amount of success as head coach of the Minutemen many fans of the school appreciated his contributions to the program. Hodges kept the Minutemen competitive at a time when huge budget cuts ravaged the Athletic Department. Also, many of his recruits were prominent members of the 1998 UMass team that won the Division 1AA National Championship.\n\nHead coaching record\n\nReferences\n\n1945 births\nLiving people\nMaine Black Bears football players\nUMass Minutemen football coaches", "Laurie Fisher (born 25 April 1958) is an Australian professional rugby union coach. He is currently the forwards coach of Super Rugby team the Brumbies.\n\nEarly life and rugby career\nFisher was born in Canberra.\n\nRugby playing days:\n 1st Grade Australian National University in ACTRU senior competition 1977-79 & 1985-92 (as captain) \n 1st Grade University of Queensland in QRU senior competition 1980-84\n Member of ACT representative team 1985-92\n Represented Australian Universities v France 1990\n Captain of premiership-winning ANU 1st Grade team 1992.\n\nCoaching career\nHe began his coaching career with the Brumbies in 2000 when he was appointed head coach of the Brumbies Rugby Academy and later assumed control of the Brumby Runners and the Canberra Vikings. He implemented a rugby program aimed at developing the cream of local ACT rugby talent into players capable of competing for training contracts or full contracts with the Brumbies squad. Guy Shepherdson, Matt Giteau and Julian Salvi all made successful transitions to the professional game under his guidance.\n\nIn 2003, Fisher was promoted to the Brumbies forwards coach under David Nucifora and contributed to their success as 2004 Super 12 Champions.\n\nFisher's contribution and devotion to the Brumbies as an assistant coach saw them earn success from 2000 as semi finalists, two time finalists and two-time champions. As a head coach, Laurie failed to guide the Brumbies to any finals appearances. Midway through the 2008 season the Brumbies announced they would not be renewing his contract as head coach. Laurie was named forwards coach for Munster Rugby on 8 July 2008, with his experience in the Experimental Law Variations (ELVs) cited as a key reason for his appointment\n\nWorking full-time in sports, Fisher's career began as a physical education and health science teacher at Telopea Park School. After a decade of teaching, he moved into a Program Manager role at the Australian Institute of Sport.\n\nIn February 2011 Munster Rugby announced that Laurie Fisher will end his association with the Irish Province at the close of the current season. During his time at the Irish Provence, Munster have won the Magners League title, contested two Heineken and one Magners League semi final, currently lead the Magners League by nine points and continue their European campaign with an Amlin Challenge quarter final in April.\n\nOn 2 July 2014, Laurie Fisher would leave the Brumbies to join English team Gloucester Rugby as their new head coach. On 7 March 2017 Fisher left Glouchester by mutual consent.\n\nHe returned to the Brumbies in 2018 to take up an assistant coaching position.\n\nCoaching honours \nAustralian National University 1st Grade Coach in ACTRU senior competition.\nBrumby Runners/ACT President XV's head coach 1999 - 2001\nAwarded ACT Rugby Coach of the Year 1999\nAustralian Universities Head Coach 2000 - 2002\nBrumbies Rugby Academy Head Coach 2000 - 2003\nCanberra Vikings Head Coach 2002 - 2003\nAwarded ACT Rugby Coach of the Year 2002\nBrumbies Forwards Coach 2003\nBrumby Runners Head Coach 2003\nAustralia Under 21s Head Coach 2003–2004\nBrumbies Head Coach 2005–2008, 2014\nGloucester Head Coach 2014–2017\n\nReferences\n\nExternal links \nACT Brumbies\n\n1958 births\nLiving people\nAustralian rugby union coaches\nAustralian rugby union players\nBrumbies coaches\nMunster Rugby non-playing staff" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.", "Why did it only last until 1997?", "In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years.", "Was he received as a good coach?", "Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season,", "Did they win any awards with him coaching?", "He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals.", "Was this the last thing he did in his tenure as their coach?", "Bird resigned as Pacers coach shortly after the end of the 2000 season,", "Did he continue his success as coach there?", "In 2003, he returned as the Pacers' president of basketball operations," ]
C_9f8396fedf53473f941dd853184b1ac2_1
How long did he stay in that position?
10
How long did Larry Bird stay in the position of President of Basketball Operations for the Pacers??
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
Bird promoted David Morway to general manager in 2008,
Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "William Blaikie (May 24, 1843 - December 6, 1904) was an American lawyer, athlete, and the author of two books about strength training. He was described by The Evening World as \"one of the earliest and most vigorous advocates of physical culture\" in the United States.\n\nLife\nBlaikie was born on May 24, 1843, in York, New York. He was educated in Boston, where he attended the Boston Latin School. He graduated from Harvard Law School in 1868.\n\nBlaikie worked as a lawyer in New York City. An athlete, he was described by The Evening World as \"one of the earliest and most vigorous advocates of physical culture\" in the United States. He was a weightlifter and a long-distance walker. For example, he walked from Boston to New York City in four-and-a-half days. He authored two books about strength training, including How To Get Strong and How To Stay So, first published in 1879. One of his most assiduous readers was Alan Calvert, who went on to found one of the first companies to sell barbells and publish one of the first magazines on strength training in the United States.\n\nWith his wife, Blaikie resided at 52 East 21st Street, Gramercy Park, Manhattan. He died of apoplexy on December 6, 1904, in New York City, at 61.\n\nPublications\n\nHow to Get Strong and How to Stay So (1883)\nSound Bodies for Our Boys and Girls (1884)\n\nReferences\n\nExternal links\nWilliam Blaikie on the Internet Archive\n\n1843 births\n1904 deaths\nPeople from York, New York\nPeople from Gramercy Park\nBoston Latin School alumni\nHarvard Law School alumni\nNew York (state) lawyers\n19th-century American lawyers\n20th-century American lawyers\nAmerican male weightlifters\nLong distance walkers\nStrength training writers\nPeople associated with physical culture", "Szilágy was a Hungarian language weekly newspaper, published between 1883 and 1910 in Szilágy County, Kingdom of Hungary, with its headquarters in Zilah (present-day Zalău, Romania).\n\nHistory\nThe first newspaper in Szilágy County was published in 1877 by Sámuel Borbély, professor at the Teachers' College in Zilah, which also had the title Szilágy. The paper did not last long, its last issue being published on 27 December 1879. In November 1882, Sámuel Arday Balogh launched his own paper, Szilágy és környéke, but similarly to Borbély's paper it did not manage to break through and eventually stopped to publish on 23 April 1883, after only 23 issues.\n\nThe county, however, did not stay without a paper for too long, as three weeks later, on 6 May 1883, the first edition of Szilágy was published. The newly formed gazette had no connection with Borbély's paper published earlier, and did not even carry on its volume numbers. The first editor-in-chief was Lajos Dénes, who, after being named a crown counsel, gave the position to Gyula Kincs, teacher of the Reformed College in Zilah. One of the students at the college was Endre Ady, whose first poem was published in the Szilágy on 22 March 1896, and who would later also contribute to the paper.\n\nReferences\n\nNewspapers established in 1883\nHungarian-language newspapers\nMass media in Zalău\n1883 establishments in Austria-Hungary" ]
[ "Larry Bird", "Post-retirement career", "When did he retire?", "Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player.", "What was his plan for post retirement?", "In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season.", "Did he promote his book?", "I don't know.", "What other activities did he get into post-retirement career-wise?", "The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997.", "Why did it only last until 1997?", "In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years.", "Was he received as a good coach?", "Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season,", "Did they win any awards with him coaching?", "He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals.", "Was this the last thing he did in his tenure as their coach?", "Bird resigned as Pacers coach shortly after the end of the 2000 season,", "Did he continue his success as coach there?", "In 2003, he returned as the Pacers' president of basketball operations,", "How long did he stay in that position?", "Bird promoted David Morway to general manager in 2008," ]
C_9f8396fedf53473f941dd853184b1ac2_1
Did David end up being his successor?
11
Did David Morway end up being Larry Bird's successor in the Indiana Pacers organization?
Larry Bird
Bird immediately transformed the Celtics into a title contender, helping them improve their win total by 32 games from the year before he was drafted and finish first in the Eastern Conference. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980-81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3-1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals but lost out on the Finals MVP Award to teammate Cedric Maxwell. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. In 1988, Bird had the best statistical season of his career, but the Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird started the 1988-89 season, but ended his season after six games to have bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, through the final years of his career, Bird maintained his status as one of the premier players in the game. He averaged over 20 points, 9 rebounds and 7 assists a game in his last three seasons with the Celtics, and shot better than 45% from the field in each. Bird led the Celtics to playoff appearances in each of those three seasons. Bird's body, however, continued to break down. He had been bothered by back problems for years, and his back became progressively worse. After leading the Celtics to a 29-5 start to the 1990-91 season, he missed 22 games due to a compressed nerve root in his back, a condition that would eventually lead to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991-92 season. His past glory would be briefly rekindled, however, in a game that season in which he scored 49 points in a double-overtime victory over the Portland Trail Blazers. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games in the series due to those recurring back problems. In the summer of 1992, Bird joined Magic Johnson, Michael Jordan and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent professional basketball players to compete. The "Dream Team" won the men's basketball gold medal. Following his Olympic experience, on August 18, 1992, Bird announced his retirement as an NBA player. He finished his career with averages of more than 24 points, 10 rebounds and 6 assists per game, while shooting 49.6% from the field, 88.6% from the free throw line and 37.6% from three-point range. Following Bird's departure, the Celtics promptly retired his jersey number 33. In 1989, Bird published his autobiography, Drive: The Story of My Life with Bob Ryan. The book chronicles his life and career up to the 1989 NBA season. The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58-24 record--the franchise's best as an NBA team at the time--in the 1997-98 season, and pushed the Bulls to seven games in the Eastern Conference finals. He was named the NBA Coach of the Year for his efforts, becoming the only man in NBA history to have won both the MVP and Coach of the Year awards. He then led the Pacers to two consecutive Central Division titles in 1999 and 2000, and a berth in the 2000 NBA Finals. Bird will be always known for his playing in the Boston garden, but what he did in 3 years with the pacers was very remarkable and the best 3 year stretch the pacer ever had. Bird resigned as Pacers coach shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, he returned as the Pacers' president of basketball operations, overseeing team personnel and coaching moves, as well as the team's draft selections. Bird promoted David Morway to general manager in 2008, but Bird still had the final say in basketball matters. After the 2011-2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways later that year. Bird said health issues were among the reasons for his leaving. Donnie Walsh was named to replace him. On June 26, 2013, almost exactly a year later, it was announced that Bird would be returning to the Pacers as president of basketball operations. Pacers owner Herb Simon briefly addressed Bird's prior health concerns, stating that "He's got his energy back, his health back and he's raring to go". On May 1, 2017, Bird resigned as president of basketball operations, but stayed with the team in an advisory capacity. CANNOTANSWER
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Larry Joe Bird (born December 7, 1956) is an American former professional basketball player, coach and executive in the National Basketball Association (NBA). Nicknamed "the Hick from French Lick" and "Larry Legend," Bird is widely regarded as one of the greatest basketball players of all time. Growing up in French Lick, Indiana, he was a local basketball phenom. Highly recruited, he initially signed to play for coach Bobby Knight of the Indiana Hoosiers, but dropped out after one month and returned to French Lick to attend a local community college. The next year he attended the smaller Indiana State University, playing ultimately for three years for the Sycamores. Drafted by the Boston Celtics with the sixth overall pick in the 1978 NBA draft after his second year at Indiana State, Bird elected to stay in college and play one more season. He then led his team to an undefeated regular season in 1978–1979. The season finished with a national championship game matchup against Michigan State, a team that featured Magic Johnson, beginning a career-long rivalry that the two shared for more than a decade. Bird entered the NBA for the 1979–1980 season, where he made an immediate impact, starting at power forward and leading the Celtics to a 32-win improvement over the previous season before being eliminated from the playoffs in the Conference Finals. He played for the Celtics during his entire professional career (13 seasons), leading them to five NBA finals appearances and three NBA championships. He played most of his career with forward Kevin McHale and center Robert Parish, considered by some to be the greatest front court in NBA history. Bird was a 12-time NBA All-Star, won two NBA Finals MVP awards and received the NBA Most Valuable Player Award three consecutive times (1984–1986), making him the only forward in league history to do so. Bird was also a member of the gold medal-winning 1992 United States men's Olympic basketball team known as "The Dream Team". He was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of "The Dream Team". In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary Team. A versatile player at both forward positions, he could play both inside and outside, being one of the first players in the league to take advantage of the newly adopted three-point line. Bird was rated the greatest NBA small forward of all time by Fox Sports in 2016. After retiring as a player, Bird served as head coach of the Indiana Pacers from 1997 to 2000. He was named NBA Coach of the Year for the 1997–1998 season and later led the Pacers to a berth in the 2000 NBA Finals. In 2003, Bird was named president of basketball operations for the Pacers, holding the position until retiring in 2012. He was named NBA Executive of the Year for the 2012 season. Bird returned to the Pacers as president of basketball operations in 2013 and remained in that role until 2017. Bird is the only person in NBA history to be named Rookie of the Year, Most Valuable Player, NBA Finals MVP, All-Star MVP, Coach of the Year, and Executive of the Year. Early life Bird was born in West Baden Springs, Indiana to Georgia (née Kerns) and Claude Joseph "Joe" Bird, a veteran of the Korean War. Bird's parents were of Irish, Scottish and some Native American descent on both sides of his family. He has four brothers and a sister. He was raised in nearby French Lick, where his mother worked two jobs to support Larry and his five siblings. Bird has said that being poor as a child still motivates him "to this day". Georgia and Joe divorced when Larry was in high school, and Joe committed suicide about a year later. Larry used basketball as an escape from his family troubles, starring for Springs Valley High School and averaging 31 points, 21 rebounds, and 4 assists as a senior on his way to becoming the school's all-time scoring leader. Bird's youngest brother, Eddie Bird, also played basketball at Indiana State University. College career Bird received a scholarship to play college basketball for the Indiana Hoosiers in 1974. After less than a month on the Indiana University campus he dropped out of school, finding the adjustment between his small hometown and the large student population of Bloomington to be overwhelming. He returned to French Lick, enrolling at Northwood Institute (now Northwood University) in nearby West Baden, and working municipal jobs for a year before enrolling at Indiana State University in Terre Haute in 1975. He had a successful three-year career with the Sycamores, helping them reach the NCAA tournament for the first time in school history with a 33–0 record where they played the 1979 championship game against Michigan State. Indiana State lost the game 75–64, with Bird scoring 19 points but making only 7 of 21 shots. The game achieved the highest-ever television rating for a college basketball game, in large part because of the matchup between Bird and Spartans' point guard Earvin "Magic" Johnson, a rivalry that lasted throughout their professional careers. Despite failing to win the championship, Bird earned numerous year-end awards and honors for his outstanding play, including the Naismith College Player of the Year Award. For his college career, he averaged 30.3 points, 13.3 rebounds, and 4.6 assists per game, leading the Sycamores to an 81–13 record during his tenure. Bird also appeared in one game for the baseball team, going 1-for-2 with 2 RBI. He graduated in 1979 with a Bachelor of Science degree in physical education. Professional career Joining the Celtics (1978–1979) Bird was selected by the Boston Celtics with the sixth overall pick in the 1978 NBA draft. He did not sign with the Celtics immediately; instead, he played out his final season at Indiana State and led the Sycamores to the NCAA title game. Celtics General Manager Red Auerbach publicly stated that he would not pay Bird more than any Celtic on the current roster, but Bird's agent Bob Woolf told Auerbach that Bird would reject any sub-market offers and simply enter the 1979 draft instead, where Boston's rights would expire when the draft began on June 25, and Bird would have been the likely top pick. After protracted negotiations, Bird inked a five-year, $3.25 million contract with the team on June 8, making him the highest-paid rookie in sports history. Shortly afterwards, NBA draft eligibility rules were changed to prevent teams from drafting players before they were ready to sign, a rule known as the Bird Collegiate Rule. Early success (1979–1983) In his rookie season (1979–1980), Bird immediately transformed the Celtics into a title contender. The team improved its win total by 32 games from the year before he was drafted and finished first in the Eastern Conference. In his career debut, Bird recorded 14 points, 10 rebounds and 5 assists in a 114–106 win over the Houston Rockets. On November 14, 1979, Bird recorded his first career triple-double with 23 points, 19 rebounds and 10 assists in a 115–111 win over the Detroit Pistons. On November 23, Bird recorded his first 30-point scoring game (along with 11 rebounds and 3 assists) in a 118–103 win over the Indiana Pacers. With averages of 21.3 points, 10.4 rebounds, 4.5 assists, and 1.7 steals per game for the season, he was selected to the All-Star Team and named Rookie of the Year. In the Conference Finals, Boston was eliminated by the Philadelphia 76ers. Before the 1980–81 season, the Celtics selected forward Kevin McHale in the draft and acquired center Robert Parish from the Golden State Warriors, forming a Hall of Fame trio for years to come; the frontcourt of Bird, McHale, and Parish is regarded as one of the greatest frontcourts in NBA history. Behind Bird's leadership and Boston's upgraded roster, the Celtics again advanced to the Conference Finals for a rematch with the 76ers. Boston fell behind 3–1 to start the series but won the next three games to advance to the Finals against the Houston Rockets, winning in six games and earning Bird his first championship. He averaged 21.9 points, 14 rebounds, 6.1 assists, and 2.3 steals per game for the postseason and 15.3 points, 15.3 rebounds, and 7 assists per game for the Finals. At the 1982 All-Star Game, Bird scored 19 points en route to winning the All-Star Game MVP Award. At the conclusion of the season, he earned his first All-Defensive Team selection. He eventually finished runner-up in Most Valuable Player Award voting to Moses Malone. In the Conference Finals, the Celtics faced the 76ers for the third consecutive year, losing in seven games. Boston's misfortunes continued into the next season, with Bird again finishing second in MVP voting to Malone and the team losing in the Conference Semifinals to the Milwaukee Bucks. Battles with the Lakers and MVP tenure (1983–1987) Bird was named MVP of the 1983–84 season with averages of 24.2 points, 10.1 rebounds, 6.6 assists, and 1.8 steals per game. In the playoffs, the Celtics avenged their loss from the year before to the Bucks, winning in five games in the Conference Finals to advance to the Finals against the Los Angeles Lakers. In Game Four, the Lakers—led by Bird's college rival Magic Johnson—were on the verge of taking a commanding 3–1 series lead before a flagrant foul was committed on Kurt Rambis that resulted in a brawl and caused the Lakers to lose their composure. Boston came back to win the game, eventually winning the series in seven. Bird was named Finals MVP behind 27.4 points, 14 rebounds, and 3.6 assists per game. On December 9, 1984, Bird recorded 48 points to go along with 14 rebounds and 5 assists in a 128–127 win over the Atlanta Hawks. On March 12 of the 1984–85 season, Bird scored a career-high and franchise record 60 points in a game against the Atlanta Hawks. The performance came just nine days after Kevin McHale set the previous Celtics record for points in a game with 56. At the conclusion of the year, Bird was named MVP for the second consecutive season behind averages of 28.7 points, 10.5 rebounds, and 6.6 assists per game. Boston advanced through the playoffs to earn a rematch with the Lakers, this time losing in six games. In mid-1985, Bird injured his back shoveling crushed rock to create a driveway at his mother's house. At least partially as a result of this, he experienced back problems for the remainder of his career. Before the start of the 1985–86 season, the Celtics made a daring trade for Bill Walton, an All-Star center with a history of injury. The risk paid off; Walton's acquisition helped Boston win a league best 67 games. One of Bird's career highlights occurred at the 1986 NBA All-Star Weekend when he walked into the locker room at the inaugural Three-Point Shootout and asked who was going to finish second before winning the shootout. On November 27, 1985, Bird recorded 47 points to go along with 12 rebounds, 2 assists and 2 steals in a 132–124 win over the Detroit Pistons. On March 10, 1986, Bird scored 50 points to go along with 11 rebounds and 5 assists in a 115–116 loss to the Dallas Mavericks. With averages of 25.8 points, 9.8 rebounds, and 6.8 assists, and 2 steals per game, Bird became just the third player in NBA history to win three consecutive MVP Awards. In the playoffs, the Celtics lost only one game through the first three rounds en route to a match-up against the Rockets in the Finals. In Game 6 of the Finals series, Bird recorded a triple-double of 29 points, 11 rebounds and 12 assists as the Celtics won the Finals series 4 games to 2 against the Rockets. Bird averaged 24 points, 9.7 rebounds, and 9.5 assists per game for the championship round. The '86 Celtics are commonly ranked as one of the greatest basketball teams of all-time, with the Boston Globes Peter May and Grantland's Bill Simmons listing them at number one. In 1987, the Celtics made their last Finals appearance of Bird's career, fighting through difficult series against the Milwaukee Bucks and Detroit Pistons. In Game 5 of the Eastern Conference Finals against the Pistons, with five seconds remaining in the fourth quarter and Boston trailing the Pistons 107–106, Bird stole an inbound pass. Falling out of bounds, Bird turned and passed the ball to teammate Dennis Johnson, who converted a game-winning 2-point layup with less than a second left. The dramatic play saved the series for the Celtics. When they reached the NBA Finals, the Celtics—hampered by devastating injuries—lost to a dominant Lakers team that had won 65 games during the season. The Celtics ended up losing to the Lakers in six games, with Bird averaging 24.2 points on .445 shooting, 10 rebounds and 5.5 assists per game in the championship series. The Celtics fell short in 1988 losing to the Detroit Pistons in 6 games in the Eastern Conference Finals as the Pistons made up from the heartbreak the previous season. Between them, Bird and Johnson captured eight NBA championships during the 1980s, with Magic getting five and Bird three. During the 1980s, either Boston or Los Angeles appeared in every NBA Finals. Throughout the 1980s, contests between the Celtics and the Lakers—both during the regular season and in the Finals—attracted enormous television audiences. The first regular-season game between the Celtics and the Lakers in the 1987–88 season proved to be a classic with Magic Johnson banking in an off-balance shot from near the three-point line at the buzzer for a 115–114 Lakers win at Boston Garden. The historical rift between the teams, which faced each other several times in championship series of the 1960s, fueled fan interest in the rivalry. Not since Bill Russell squared off against Wilt Chamberlain had professional basketball enjoyed such a marquee matchup. The apparent contrast between the two players and their respective teams seemed scripted for television: Bird, the introverted small-town hero with the blue-collar work ethic, fit perfectly with the throwback, hard-nosed style of the Celtics, while the stylish, gregarious Johnson ran the Lakers' fast-paced Showtime offense amidst the bright lights and celebrities of Los Angeles. A 1980s Converse commercial for its "Weapon" line of basketball shoes (endorsed by both Bird and Johnson) reflected the perceived dichotomy between the two players. In the commercial, Bird is practicing alone on a rural basketball court (in reality the court was one Bird had made on the property in French Lick that he had purchased for his mother), when Johnson pulls up in a sleek limousine and challenges him to a one-on-one match. Despite the intensity of their rivalry, Bird and Johnson became friends off the court. Their friendship blossomed when the two players worked together to film the Converse commercial, which depicted them as archenemies. Johnson appeared at Bird's retirement ceremony on February 4, 1993, and emotionally described Bird as a "friend forever". Late career (1988–1992) The 1987–1988 season was the highest-scoring season of Bird's career. In Game 7 of the 1988 Eastern Conference semifinals against the Atlanta Hawks, Bird shot 9 of 10 from the floor in the fourth quarter, scoring 20 points in that quarter and lifting the Celtics to a series-clinching victory over Atlanta. Bird finished with 34 points. His effort helped to overcome a 47-point performance by Atlanta's Dominique Wilkins. Wilkins remarked, "The basket was like a well. I couldn't miss. He couldn't miss. And it went down to the last shot of the game. Who was going to make the last shot? That's the greatest game I've ever played in or seen played." The Celtics failed to reach the NBA Finals for the first time in five years, losing to the Pistons in six games during the Eastern Conference Finals. Bird's 1988–89 season ended after six games when he had bone spurs surgically removed from both of his heels. He returned to the Celtics in 1989, but debilitating back problems and an aging Celtic roster prevented him from regaining his mid-1980s form. Nonetheless, during the final years of his career, Bird maintained his status as one of the premier players in the game. In his final three seasons with the Celtics, Bird averaged over 20 points, 9 rebounds and 7 assists per game, shot better than 45% from the field, and led the Celtics to playoff appearances. After leading the Celtics to a 29–5 start to the 1990–91 season, Bird missed 22 games due to a compressed nerve root in his back, a condition that eventually led to his retirement. He had off-season surgery to remove a disc from his back, but his back problems continued and he missed 37 games during the 1991–92 season. During the 1992 Eastern Conference semi-finals against the Cleveland Cavaliers, Bird missed four of the seven games due to recurring back problems. On August 18, 1992, Bird announced his retirement. Following Bird's departure, the Celtics promptly retired his jersey number 33. International play In the summer of 1992, Bird joined Magic Johnson, Michael Jordan, and other NBA stars to play for the United States basketball team in that year's Olympics in Barcelona, Spain. It was the first time in the United States' Olympic history that the country sent NBA players to compete. The "Dream Team" won the men's basketball gold medal. The Naismith Memorial Basketball Hall of Fame called the team "the greatest collection of basketball talent on the planet". Player profile and legacy Bird was voted to the NBA's 50th Anniversary All-Time Team in 1996, was inducted into the Naismith Memorial Basketball Hall of Fame in 1998, and was inducted into the Hall of Fame again in 2010 as a member of the "Dream Team". In 1999, Bird ranked No. 30 on ESPN SportsCentury's list of 50 Greatest Athletes of the 20th century. He played both the small forward and power forward positions. Universally recognized as an all-time great player, Bird was placed at the power forward position on an NBA all-time starting five roster with fellow superstars Magic Johnson (point guard), Michael Jordan (shooting guard), LeBron James (small forward), and Kareem Abdul-Jabbar (center) in 2020. Bird has been described as one of the greatest basketball players and greatest shooters of all time. He was selected to 12 NBA All-Star teams. Bird won three NBA championships (in 1981, 1984, and 1986) with the Celtics and won two NBA Finals MVP Awards. Bird won three consecutive regular season MVP awards; as of 2020, the only other players to accomplish this feat are Bill Russell and Wilt Chamberlain. Bird was also a four-time regular season MVP runner-up in 1981, 1982, 1983, and 1988. Bird is also remembered as one of the foremost clutch performers in the history of the NBA; he was known for his excellent play in high-stakes, high-pressure situations. In October 2021, as part of the NBA's 75th Anniversary, Bird was honored as one of the 75 greatest players of all time, by being named to the NBA's 75th Anniversary All-Time Team. Bird scored 24.3 points per game in his career on a .496 field goal percentage, an .886 free throw percentage, and a .376 percentage on three-point shots. Bird had an average of 10.0 rebounds per game for his career and 6.3 assists. Bird was the first player in NBA history to shoot 50% or better on field goals, 40% on three-pointers, and 90% on free-throws in a single NBA season while achieving the league minimum for makes in each category. He accomplished this feat twice. Bird won NBA three-point-shooting contests in three consecutive years. He sometimes practiced shooting three-point shots with his eyes closed. Bird is also remembered as an excellent passer and defender. While he was relatively slow, Bird displayed a knack for anticipating the moves of his opponent, making him a strong team defender. He had 1,556 career steals. In recognition of his defensive abilities, Bird was named to three All-Defensive Second Teams. Bird was widely considered one of Red Auerbach's favorite players. He considered Bird to be the greatest basketball player of all time. Bird's humble roots were the source of his most frequently used moniker, "The Hick from French Lick". Bird was also referred to as "The Great White Hope" and "Larry Legend". Bird was known for his trash-talking on the court. At the 2019 NBA Awards, Bird received the NBA Lifetime Achievement Award (shared with Magic Johnson). Career as coach and executive The Celtics employed Bird as a special assistant in the team's front office from 1992 until 1997. In 1997, Bird accepted the position of coach of the Indiana Pacers and said he would be on the job for no more than three years. Despite having no previous coaching experience, Bird led the Pacers to a 58–24 record—the franchise's best as an NBA team at the time—in the 1997–98 season, and pushed the Chicago Bulls to seven games in the Eastern Conference Finals. He was named the NBA Coach of the Year for his efforts. Bird then led the Pacers to consecutive Central Division titles in 1999 and 2000 and a berth in the 2000 NBA Finals. Bird resigned his head coaching position shortly after the end of the 2000 season, following through on his initial promise to coach for only three years. In 2003, Bird was hired as the Pacers' president of basketball operations. After the 2011–2012 NBA season, Bird was named NBA Executive of the Year, becoming the only man in NBA history to win the NBA MVP, Coach of the Year and Executive of the Year. On June 27, 2012, a day before the 2012 NBA draft, Bird and the Pacers announced that they would be parting ways; Bird said that health issues were among the reasons for his departure. Bird returned to the Pacers as president of basketball operations in 2013. He stepped down again in 2017, but stayed with the team in an advisory capacity. Awards and honors As player: 3× NBA champion (, , ) 2× NBA Finals MVP (, ) 3× NBA Most Valuable Player (–) 12× NBA All-Star (–, –) NBA All-Star Game MVP () 9× All-NBA First Team (–) All-NBA Second Team () 3× NBA All-Defensive Second Team (–) NBA Rookie of the Year () NBA All-Rookie First Team () 3× Three-point Shootout champion (–) Named one of the 50 Greatest Players in NBA History in 1996 Selected on the NBA 75th Anniversary Team in 2021 No. 33 retired by Boston Celtics John R. Wooden Award (1979) Naismith College Player of the Year (1979) AP National Player of the Year (1979) Oscar Robertson Trophy (1979) Adolph Rupp Trophy (1979) NABC Player of the Year (1979) 2× MVC Player of the Year (1978–1979) 2× Consensus first team All-American (1978–1979) As coach: NBA All-Star Game head coach (1998) NBA Coach of the Year () As executive: NBA Executive of the Year () In popular culture Bird has appeared in three movies, each time playing himself: Blue Chips with Nick Nolte, released in 1994 by Paramount; the Warner Brothers film Space Jam with Michael Jordan and Bill Murray, in 1996; and Celtic Pride with Dan Aykroyd, Daniel Stern, and Damon Wayans, which was also released in 1996. Bird's likeness has appeared in several video games. In One on One: Dr. J vs. Larry Bird, Bird plays opposite Julius Erving in a game of one-on-one. A sequel, Jordan vs Bird: One on One, was a 1988 basketball video game. In 2011, Bird was featured on the cover of NBA 2K12, alongside Magic Johnson and Michael Jordan. Bird is also a playable character in the revamped NBA Jam. The band Dispatch has a song called "Just Like Larry" about Larry Bird, who is their hometown hero from his days as a member of the Boston Celtics. Larry Bird and Magic Johnson wrote a book together (with Jackie MacMullan) titled When The Game Was Ours. In a commercial during Super Bowl XLIV, Dwight Howard and LeBron James challenge each other at trick shots for a McDonald's lunch. After they finish, clapping is heard, then the camera pans to the crowd and Bird says "Great show, guys. Thanks for lunch." Howard and James share a confused look. Howard asks, "Who was that?" James replies, "I have no idea." This refers to a McDonald's commercial from 1991 in which Bird and Michael Jordan have a trick shot contest, in which the winner got the lunch and the loser had to watch the winner eat. In October 2005, a man in Oklahoma City, Eric James Torpy, was convicted of shooting with intent to kill and robbery. He asked that his sentence be changed from 30 years' imprisonment to 33 so that it would match Bird's jersey number. His request was granted. Twitter's logo is named Larry in honor of Larry Bird. One of the lead characters in the television series The Neighbors is an alien named Larry Bird, played by Simon Templeman. Personal life In 1975, Bird married Janet Condra. They remained married for less than a year. Following an attempted reconciliation, Bird and Condra had a daughter, Corrie, in 1977. Bird married Dinah Mattingly in 1989. They have two adopted children, Conner and Mariah. Career statistics NBA statistics Cited from Basketball Reference's Larry Bird page. Regular season |- | style="text-align:left;"| | style="text-align:left;"| Boston | 82 || 82 || 36.0 || .474 || .406 || .836 || 10.4 || 4.5 || 1.7 || .6 || 21.3 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 82 || 39.5 || .478 || .270 || .863 || 10.9 || 5.5 || 2.0 || .8 || 21.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 77 || 58 || 38.0 || .503 || .212 || .863 || 10.9 || 5.8 || 1.9 || .9 || 22.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 79 || 79 || 37.7 || .504 || .286 || .840 || 11.0 || 5.8 || 1.9 || .9 || 23.6 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 79 || 77 || 38.3 || .492 || .247 || style="background:#cfecec;"| .888* || 10.1 || 6.6 || 1.8 || .9 || 24.2 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 80 || 77 || style="background:#cfecec;"| 39.5* || .522 || .427 || .882 || 10.5 || 6.6 || 1.6 || 1.2 || 28.7 |- | style="text-align:left; background:#afe6ba;"| † | style="text-align:left;"| Boston | 82 || 81 || 38.0 || .496 || .423 || style="background:#cfecec;"| .896* || 9.8 || 6.8 || 2.0 || .6 || 25.8 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 74 || 73 || style="background:#cfecec;"| 40.6* || .525 || .400 || style="background:#cfecec;"| .910* || 9.2 || 7.6 || 1.8 || .9 || 28.1 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 76 || 75 || 39.0 || .527 || .414 || .916 || 9.3 || 6.1 || 1.6 || .8 || 29.9 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 6 || 6 || 31.5 || .471 || ... || .947 || 6.2 || 4.8 || 1.0 || .8 || 19.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 75 || 75 || 39.3 || .473 || .333 || style="background:#cfecec;"| .930* || 9.5 || 7.5 || 1.4 || .8 || 24.3 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 60 || 60 || 38.0 || .454 || .389 || .891 || 8.5 || 7.2 || 1.8 || 1.0 || 19.4 |- | style="text-align:left;"| | style="text-align:left;"| Boston | 45 || 45 || 36.9 || .466 || .406 || .926 || 9.6 || 6.8 || .9 || .7 || 20.2 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 897 || 870 || 38.4 || .496 || .376 || .886 || 10.0 || 6.3 || 1.7 || 0.8 || 24.3 |- class=sortbottom | style="text-align:center;" colspan=2| All-Star | 10 || 9 || 28.7 || .423 || .231 || .844 || 7.9 || 4.1 || 2.3 || 0.3 || 13.4 |- Playoff statistics |- | style="text-align:left;"| 1980 | style="text-align:left;"| Boston | 9 || 9 || 41.3 || .469 || .267 || .880 || 11.2 || 4.7 || 1.6 || 0.9 || 21.3 |- | style="text-align:left; background:#afe6ba;"| 1981† | style="text-align:left;"| Boston | 17 || 17 || 44.1 || .470 || .375 || .894 || 14.0 || 6.1 || 2.3 || 1.0 || 21.9 |- | style="text-align:left;"| 1982 | style="text-align:left;"| Boston | 12 || 12 || 40.8 || .427 || .167 || .822 || 12.5 || 5.6 || 1.9 || 1.4 || 17.8 |- | style="text-align:left;"| 1983 | style="text-align:left;"| Boston | 6 || 6 || 40.0 || .422 || .250 || .828 || 12.5 || 6.8 || 2.2 || 0.5 || 20.5 |- | style="text-align:left; background:#afe6ba;"| 1984† | style="text-align:left;"| Boston | 23 || 23 || 41.8 || .524 || .412 || .879 || 11.0 || 5.9 || 2.3 || 1.2 || 27.5 |- | style="text-align:left;"| 1985 | style="text-align:left;"| Boston | 20 || 20 || 40.8 || .461 || .280 || .890 || 9.1 || 5.8 || 1.7 || 1.0 || 26.0 |- | style="text-align:left; background:#afe6ba;"| 1986† | style="text-align:left;"| Boston | 18 || 18 || 42.8 || .517 || .411 || .927 || 9.3 || 8.2 || 2.1 || .6 || 25.9 |- | style="text-align:left;"| 1987 | style="text-align:left;"| Boston | 23 || 23 || 44.1 || .476 || .341 || .912 || 10.0 || 7.2 || 1.2 || 0.8 || 27.0 |- | style="text-align:left;"| 1988 | style="text-align:left;"| Boston | 17 || 17 || 44.9 || .450 || .375 || .894 || 8.8 || 6.8 || 2.1 || 0.8 || 24.5 |- | style="text-align:left;"| 1990 | style="text-align:left;"| Boston | 5 || 5 || 41.4 || .444 || .263 || .906 || 9.2 || 8.8 || 1.0 || 1.0 || 24.4 |- | style="text-align:left;"| 1991 | style="text-align:left;"| Boston | 10 || 10 || 39.6 || .408 || .143 || .863 || 7.2 || 6.5 || 1.3 || 0.3 || 17.1 |- | style="text-align:left;"| 1992 | style="text-align:left;"| Boston | 4 || 2 || 26.8 || .500 || .000 || .750 || 4.5 || 5.3 || 0.3 || 0.5 || 11.3 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 164 || 162 || 42.0 || .472 || .321 || .890 || 10.3 || 6.5 || 1.8 || 0.9 || 23.8 |- College statistics |- | style="text-align:left;"| 1976–77 | style="text-align:left;"| Indiana State | 28 || ... || 36.9 || .544 || ... || .840 || 13.3 || 4.4 || ... || ... || 32.8 |- | style="text-align:left;"| 1977–78 | style="text-align:left;"| Indiana State | 32 || ... || ... || .524 || ... || .793 || 11.5 || 3.9 || ... || ... || 30.0 |- | style="text-align:left;"| 1978–79 | style="text-align:left;"| Indiana State | 34 || ... || ... || .532 || ... || .831 || 14.9 || 5.5 || ... || ... || 28.6 |- class=sortbottom | style="text-align:center;" colspan=2| Career | 94 || ... || ... || .533 || ... || .822 || 13.3 || 4.6 || ... || ... || 30.3 |- Head coaching record |+Larry Bird coaching statistics |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||58||24|||| style="text-align:center;"|2nd in Central||16||10||6|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |50||33||17|||| style="text-align:center;"|1st in Central||13||9||4|| | style="text-align:center;"|Lost in Conf. Finals |- | style="text-align:left;"|Indiana | style="text-align:left;"| |82||56||26|||| style="text-align:center;"|1st in Central||23||13||10|| | style="text-align:center;"|Lost in NBA Finals |- class="sortbottom" | style="text-align:left;"|Career | ||214||147||67|||| ||52||32||20|| See also Indiana Basketball Hall of Fame List of career achievements by Larry Bird List of National Basketball Association career assists leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association career playoff free throw scoring leaders List of National Basketball Association career playoff rebounding leaders List of National Basketball Association career playoff scoring leaders List of National Basketball Association career playoff steals leaders List of National Basketball Association career playoff turnovers leaders List of National Basketball Association career scoring leaders List of National Basketball Association career steals leaders List of National Basketball Association career turnovers leaders List of National Basketball Association players with most points in a game List of National Basketball Association players with most steals in a game List of National Basketball Association annual minutes leaders List of NBA players who have spent their entire career with one franchise List of NCAA Division I men's basketball career scoring leaders List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds "Saturday Morning Fun Pit", a 2013 episode of Futurama featuring Bird voice acting as a cartoon clone version of himself References Further reading External links NBA profile 1956 births Living people All-American college men's basketball players American men's basketball coaches American men's basketball players Basketball coaches from Indiana Basketball players at the 1979 NCAA Division I Final Four Basketball players at the 1992 Summer Olympics Basketball players from Boston Basketball players from Indiana Boston Celtics draft picks Boston Celtics players Indiana Pacers executives Indiana Pacers head coaches Indiana State Sycamores baseball players Indiana State Sycamores men's basketball players Medalists at the 1977 Summer Universiade Medalists at the 1992 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association players with retired numbers Olympic gold medalists for the United States in basketball People from French Lick, Indiana Power forwards (basketball) Small forwards Sportspeople from Boston United States men's national basketball team players Universiade gold medalists for the United States Universiade medalists in basketball
false
[ "Andre David Sennwald (August 4, 1907 — Jan 12, 1936) was a motion picture critic for The New York Times.\n\nLife\nAfter graduating from Columbia University School of Journalism, Sennwald was hired as a reporter for The New York Times in 1930. As the film critic Mordaunt Hall gave up his post in October 1934, Sennwald became his successor.\n\nHe lived at 670 West End Avenue, Upper West Side. He was married to the former Yvonne Beaudry.\n\nHe died on January 12, 1936, as a result of gas poisoning before his penthouse apartment exploded because of a gas leak. The explosion wrecked the penthouse and the top three floors of the 17-story building.\nSennwald had an appointment with his ex-wife Yvonne Beaudray and did not appear, which is why she went to see him, only to find him dead in the ruins of his home. Since Sennwald was believed by friends to be in good health and no suicide note was found, nor was one ever officially released, whether it was an accident or a suicide is unknown.\n\nHis last review was for The Ghost Goes West.\n\nHis successor as chief film critic of the New York Times was Frank Nugent.\n\nReferences\n\nFurther reading\n\nExternal links \n \n (photo)\n \n Andre Sennwald at Rotten Tomatoes\n\n1907 births\n1936 deaths\nCritics employed by The New York Times\nAmerican film critics\nDeaths by poisoning\nColumbia University Graduate School of Journalism alumni", "David II () (died 937) was a member of the Georgian Bagratid dynasty of Tao-Klarjeti and titular king of Iberia from 923 until his death.\n\nThe eldest son and ultimate successor of Adarnase IV of Iberia as king of Iberia, David's control was limited to the duchies of Queli-Javakheti, and Lower Tao as the core lands of Inner Iberia (Shida Kartli) were under the Abkhazian control. In spite of his royal title and unlike his father, David did not bear the traditional high Byzantine title of curopalates which was bestowed by the emperor upon David's younger brother Ashot II. As a result, David's influence and prestige were overshadowed by those of his younger brother, Ashot II. As evidenced by Constantine Porphyrogenitus's De Administrando Imperio, David only had the title of magistros which he shared with his relative Gurgen II of Tao. Both Gurgen and David resolutely opposed the Byzantine takeover of the Bagratid town of Artanuji, a fief of Gurgen's father-in-law, Ashot the Swift. During the dispute, David even arrested the Byzantine plenipotentiary, the patrikios Constans, who was dispatched to create Gurgen magistros and bring David's brother Ashot for investiture as curopalates. \n\nDavid died childless, being succeeded by his brother Sumbat I.\n\nGenealogy\n\nReferences\n\n937 deaths\nKings of Bagratid Iberia\nBagrationi dynasty of Tao-Klarjeti\n10th-century monarchs in Asia\n10th-century monarchs of Georgia\nYear of birth unknown\nMagistroi" ]
[ "Brian Wilson", "Recluse period" ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
What happened during the Recluse period?
1
What happened during Brian Wilson´s Recluse period?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.
Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "\"The Recluse\" is the fourth single from Plan B's second album The Defamation of Strickland Banks. The single was released on 4 October 2010. \"The Recluse\" has been labeled as \"one of his best singles to date\" by critics, \"neatly marrying poignancy and aggression into a 4-minute-long track with a surplus of scaling strings and his voice showing more desperation for release than ever before.\" This song was covered by George Michael during his \"Symphonica\" tour.\n\nMusic video\nThe music video for \"The Recluse\" was directed by Daniel Wolfe and shows Strickland Banks, played by Plan B, during his time in prison, as well as flashbacks of his life before prison. It was first aired online on YouTube on September 14, 2010. Actress Vicky McClure plays Strickland Banks' girlfriend. At the start of the video a snippet of \"The Ballad of Belmarsh\" can be heard.\n\nTrack listing\n UK CD single\n \"The Recluse\" – 3:19\n \"The Recluse\" (Nero Remix) – 4:36\n \"The Recluse\" (Netsky Remix) – 4:56\n\n UK Promotional CD single\n \"The Recluse\" (Nero Remix) – 4:36\n \"The Recluse\" (Nero Instrumental) – 4:36\n \"The Recluse\" (Netsky Remix) – 4:56\n \"The Recluse\" (Netsky Edit) – 3:08\n\n UK 12\" vinyl\n \"The Recluse\" – 3:19\n \"The Recluse\" (Nero Remix) – 4:36\n \"The Recluse\" (Netsky Remix) – 4:56\n\n Digital download - Remix\n \"The Recluse\" (Nero Remix) – 4:36\n\n Digital download - Remix\n \"The Recluse\" (Netsky Remix) – 4:56\n\nPersonnel\n Plan B – vocals, producer\n\nProduction\n Eric Appapoulay – additional producer\n David McEwan – engineer\n Mark \"Top\" Rankin – mixing\n\nAdditional musicians\n Tom Wright-Goss – guitar\n Eric Appapoulay – bass\n Richard Cassell – drums\n\nChart performance\n\nReferences\n\nExternal links\n \n \n \n\n2010 singles\n679 Artists singles\nAtlantic Records UK singles\nBritish soul songs\nPlan B (musician) songs\nSongs written by Plan B (musician)\n2009 songs", "A recluse is a person who shuns the public and society. \n\nRecluse or The Recluse may also refer to:\n Recluse, Wyoming, a town in the United States\n Recluse Nunatak, Alexander Island, Antarctica\n Recluse spider, a genus of venomous spiders\n Recluse butterflies of the genus Caenides\n \"The Recluse\" (Plan B song), a 2010 single from the British artist Plan B\n \"The Recluse\", a single from the 2003 album The Ugly Organ by the American band Cursive\n\nSee also\n List of people known as the Recluse\n Recluse literature, a Japanese literary movement" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior." ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
Was Brian Wilsion involved in this?
2
Was Brian Wilsion involved in the Recluse period?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol,
Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "Brian Barnes (20 August 1944 - 28 November 2021) was an English artist. Brian Barnes was appointed a Member of the Order of the British Empire (MBE) in 2005 for services to the community in Battersea, London.\n\nLife and work\nBrian Barnes was educated at Ravensbourne from 1961 to 1966 and the Royal College of Art 1966–1969. Based in Battersea, London since 5 February 1967, Barnes is noted for colourful, large-scale murals in Battersea and the London area, designed in collaboration with local groups. His most famous mural is The Good the Bad and The Ugly, also known as The Battersea Mural, at Battersea Bridge Road, designed in 1976 and painted by a group of local people from 1976 to 1978. The 276-foot mural was demolished in 1979 by the Morgan Crucible Company.\n\nOther important murals include Seaside Picture, Thessaly Road (1979), Nuclear Dawn in Brixton (1981) (part of the Brixton murals), the H. G. Wells mural, Market Square, Bromley (1986) Battersea in Perspective, Dagnall Street (1988), and the Violette Szabo mural in Stockwell (2001).\n\nThe Violette Szabo mural also commemorates the locals who gave their life in the war. This mural was listed in Time Out as one of London's top ten murals. Controversy surrounded the mural in 2005, when Brian Barnes added a painting of Jean Charles de Menezes to the memorial which was removed soon after.\n\nBarnes works as a printmaker, in particular dealing with local campaigns and issues, and was also involved in the long-standing campaign to preserve Battersea Power Station. He founded the Battersea Power Station Community Group in 1983, to see that the listed building is preserved and that local people are involved in the redevelopment.\n\nHe died on 28 November 2021 at the age of 77.\n\nNotes and references\n\n1944 births\n2021 deaths\n20th-century English painters\nEnglish male painters\n21st-century English painters\n21st-century male artists\nMembers of the Order of the British Empire\nAlumni of the Royal College of Art\nAlumni of Ravensbourne University London", "Brian Jackson (28 December 1932 – 3 July 1983) was a 20th-century British educationalist who was involved in the debate over selective schooling during the 1960s.\n\nIn 1960 Brian Jackson and Michael Young created the Advisory Centre for Education. They went on to establish the National Extension College in 1963 as a pilot for the Open University. He founded the National Educational Research and Development Trust (NERDT) which set up the National Children's Centre in 1975 in Huddersfield. Jackson had a major influence on the development of ideas in the field of childcare, and their practical application.\n\nBrian Jackson collapsed 500 yards from the finish whilst taking part in a charity five mile run in aid of the National Children's Centre. He was given heart massage but was pronounced dead on arrival at Huddersfield Royal Infirmary.\n\nBibliography\n Education and the Working Class [with Dennis Marsden] (1962)\n\nReferences \n\n20th-century British people\n1932 births\n1983 deaths\nAlumni of Downing College, Cambridge" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.", "Was Brian Wilsion involved in this?", "Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol," ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
What happened following this?
3
What happened following his recluse period?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.
Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
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[ "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books", "What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.", "Was Brian Wilsion involved in this?", "Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol,", "What happened following this?", "During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking." ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
Did he ever get caught and arrested?
4
Did Brian Wilsion ever get caught and arrested?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
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Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "The 1989 Australian motorcycle Grand Prix was the second round of the 1989 Grand Prix motorcycle racing season. It took place on the weekend of 7–9 April 1989 at Phillip Island and was the first ever World Championship Motorcycle Grand Prix to take place in Australia.\n\n500 cc race report\nGreen light on the 5-row grid sees Wayne Rainey, Tadahiko Taira and Kevin Schwantz head into the first turn in front of the field, with Wayne Gardner in 4th. Second lap in 2nd place, Schwantz gets on the throttle while looking behind him and highsides out of Turn Ten; as he walked away from his Suzuki, he looked like he wished he did not know the guy who just binned it so foolishly.\n\nRainey pulled out a lead of more than a second, followed by Kevin Magee, Taira, Gardner, Mick Doohan and Eddie Lawson. Eventually, Gardner got past Magee at Turn Four, and Pierfrancesco Chili crashed out for the second successive race. Gardner caught Rainey and began to swap the lead, while Magee, Christian Sarron, Freddie Spencer and Lawson closed in. Sarron caught and goes to the front, with the leaders, while Magee hung on in 4th spot. Spencer fell off and did not finish.\n\nLast lap: Gardner, Rainey, Sarron and a small gap to Magee. Rainey's early break may have cost him rubber, because he seemed desperate to find a different line that will get him to slide his way past Gardner, but nothing works, with Gardner winning the race, followed by Rainey and Sarron.\n\nRainey: \"Gardner ran into the back of me twice, and didn’t even notice. He was one of the sloppiest guys I ever raced – he reminded me of a bulldog on a bike. When he was on a good day, he could ride that thing right out of the saddle. He was a bit like Kevin, but more out of control. Not a thinking racer: he rode by the excitement of the crowd. If nobody was there I think he wouldn’t do much\".\n\n500 cc classification\n\nReferences\n\nAustralian motorcycle Grand Prix\nAustralian\nMotorcycle\nMotorsport at Phillip Island", "\"The Perfect Murder\" is a short story by the British politician and author Jeffrey Archer, first published in his 1988 anthology A Twist in the Tale.\n\nPlot summary\nThe story is told in the first person by a married man who has been having an affair with beautiful, 32-year-old Pimlico secretary Carla Moorland. After he sees another man leaving her flat, he assumes it's her lover and the two quarrel, ending in him accidentally striking her dead. He leaves unnoticed, then anonymously tips off the police so that the man he saw, a 51-year-old insurance broker called Paul Menzies, will be arrested. The murder inquiry receives vast media attention and Paul Menzies is eventually arrested and brought to trial. The protagonist is eventually sacked from his job, and puts his family life on hold, attending the courthouse hearings every day. His guilt grows ever larger, and he is consumed by the fear that Menzies will be found innocent and the police will identify him as the real murderer. Despite his fears of being caught, the protagonist returns to the courthouse every day, waiting for the court of law to find Menzies guilty. The protagonist's fears that he will be caught continue to grow, and after a lengthy trial and jury deliberation, he is happy to find out that the jury has reached a verdict. The protagonist returns to the courthouse for the verdict, and when the judge asks the foreman to stand and read the verdict, the protagonist stands and delivers the verdict of \"Guilty\", thus bringing out the twist in the tale, which is so aptly described by the book’s title.\n\n1988 short stories\nBritish short stories\nCrime short stories" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.", "Was Brian Wilsion involved in this?", "Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol,", "What happened following this?", "During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.", "Did he ever get caught and arrested?", "I don't know." ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
Did he die from abusing drugs and alcholol?
5
Did Brian Wilsion die from abusing drugs and alcholol?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls";
Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "Gavan Hennigan (born 1981) is an Irish Extreme Environment Athlete.\n\nBackground\nHennigan grew up in Galway, Ireland. At the age of 16, he began abusing alcohol and drugs as a means to deal with his homosexuality and his father's alcoholism. Hennigan travelled abroad, living in a squat in Amsterdam and an unfurnished flat in London. He suffered blackouts from alcohol and drug overdoses, eventually entering rehab for his addictions when he was 21.\n\nSports career\nBy trade a saturation diver on oil rigs for over 10 years, in 2016 Hennigan became the \"fastest solo competitor in the history of the Talisker Whisky Atlantic Challenge, dubbed the world's toughest row.\" Hennigan completed the three thousand mile long journey in \"49 days, 11 hours and 37 minutes.\"\n\nCharitable work\nHennigan pursues snowboarding, mountaineering, ultra running, and rowing, raising over €12,000 for local Galway charities.\n\nReferences\n\n1981 births\n21st-century Irish people\nPeople from County Galway\nIrish sailors\nLiving people\nIrish male rowers\nProfessional divers\nIrish ultramarathon runners\nLGBT sportspeople from Ireland\nGay sportsmen\nLGBT rowers", "Kirk Baptiste (born June 20, 1962) is a retired American track and field athlete, who mainly competed in the 200 metres. He was born in Beaumont, Texas. He competed for the United States at the 1984 Summer Olympics held in Los Angeles, United States, where he won the silver medal in the 200 metres with a time of 19.96 seconds. This was the first time anyone had broken 20 seconds and come second in the race. He decided to forego his final season of eligibility at the University of Houston after his successful junior year. Baptiste was diagnosed with HIV in the 1990s, spending a decade abusing drugs to escape. In 2006 he began treatment at \"A Caring Safe Place\" in Houston.\n\nReferences\n\nExternal links\n \n \n\n1962 births\nLiving people\nAmerican male sprinters\nOlympic silver medalists for the United States in track and field\nAthletes (track and field) at the 1984 Summer Olympics\nSportspeople from Beaumont, Texas\nTrack and field athletes from Texas\nPeople with HIV/AIDS\nHouston Cougars men's track and field athletes\nMedalists at the 1984 Summer Olympics\nUSA Outdoor Track and Field Championships winners\nWorld Athletics Indoor Championships winners" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.", "Was Brian Wilsion involved in this?", "Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol,", "What happened following this?", "During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.", "Did he ever get caught and arrested?", "I don't know.", "Did he die from abusing drugs and alcholol?", "Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's \"Salmon Falls\";" ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
Did he ever go to rehab?
6
Did Brian Wilsion ever go to rehab?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
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Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "Rehab was a pool party event held from 2004 to 2018, at the Hard Rock Hotel and Casino in Paradise, Nevada, near the Las Vegas Strip. Rehab popularized the pool party concept in Las Vegas, leading other resorts to begin offering their own versions. Its success also spawned a reality television series, Rehab: Party at the Hard Rock Hotel, which aired from 2008 to 2010.\n\nDescription\nRehab was similar to a spring break party, and each event featured DJ music. Rehab also featured live performances throughout its history, from musicians such as Akon, Snoop Dogg, Drake, Lil Wayne, Lady Gaga, Deadmau5, Pauly D, and Psy. Aside from the cost of admission, alcohol and cabanas were offered for additional costs. Rehab parties were held on Sundays. The event operated during warm seasons, usually starting in April. It would typically end each year in October, depending on the weather.\n\nHistory\nBefore Rehab was launched, the Hard Rock Hotel pool was not open to the public and was only accessible to resort guests. In 2004, Chad Pallas, the director of nightlife for the Hard Rock, was looking for ways to keep the resort popular. He focused on improving the pool area and got the idea for Rehab after having one of his weekly boat parties on Lake Mead. Pallas later said, \"It was the greatest time ever to get out there in that cheap pontoon boat and party during the day. I had just come home and was relaxing one day when I got a call from a girl who wanted to get a group of her friends into the resort pool. She said she couldn't just walk in, that they had grown more strict, yet I was going to meetings where we were complaining that pool business was down.\" The pool area had sometimes hosted private concerts and special events.\n\nPallas had seen Nikki Beach in Miami, but he was not certain that such an idea could work in Las Vegas, so adjustments were made to the concept to suit the locale. Pallas said about Rehab, \"At first we made the mistake of thinking it was more of the electronic [music] scene, but the crowd that came showed us it was more of a Spring Break party scene.\" Rehab opened to the public on May 2, 2004, and Pallas hoped that the event could bring in revenue of $20,000 on its opening day. The first party proved to be successful, bringing in $90,000, and the event brought in profits of $1.5 million by the end of its first season in 2004. Following its initial success, the event returned the following year.\n\nRehab was initially popular among local residents, including those who worked in nearby resorts on the Las Vegas Strip. Word about the Rehab parties gradually spread to tourists, and the event pioneered the local trend of daylife (or dayclub) entertainment, similar to nightlife. Celebrity visitors over the years included Rob Gronkowski, Justin Bieber, Paris Hilton, and Kim Kardashian. Rehab's initial success was partly due to the lack of competition. By 2007, its popularity had inspired other Las Vegas resorts to begin offering similar pool party events. By 2008, yearly profits had reached $9 million. Lines would form hours prior to the opening of a Rehab party. As of 2008, the event had capacity for 2,000 people, and lines would sometimes reach into the casino once capacity was hit. VIP customers could skip the line and enter through a separate entrance. Rehab's popularity led to a reality television show titled Rehab: Party at the Hard Rock Hotel, which premiered in 2008. As of 2009, Rehab averaged 2,000 to 2,500 guests during each party, although some busy weekends attracted up to 5,000 people. Cabana rentals ranged from $1,000 to $10,000 depending on how busy each party was.\n\nBy 2009, drugs and prostitution had become an issue at resort pools in the Las Vegas Valley. That year, detectives with the Las Vegas Metropolitan Police Department launched an undercover operation at Rehab. They subsequently arrested seven people on narcotic-related charges, while another was arrested for solicitation of prostitution. The arrests prompted the Nevada Gaming Control Board to investigate aspects of the pool operation, to determine whether such crimes were commonly occurring on the property.\n\nIn 2010, Hard Rock Cafe International sued the Hard Rock Hotel to cancel its name licensing agreement, citing negative publicity associated with Rehab and its reality television series. The lawsuit alleged that the resort was being portrayed on television as \"a destination that revels in drunken debauchery, acts of vandalism, sexual harassment, violence, criminality and a host of other behavior\". The lawsuit also cited the 2009 arrests. Rehab: Party at the Hard Rock was canceled later in 2010.\n\nIn 2011, Ian Kohoutek became the director of nightlife and launched an effort to help Rehab's public image following the lawsuit. Kohoutek said about the television series, \"I think it was a poor depiction of what Rehab is all about. This is actually a very fun, clean environment. We have a clean pool; we operate effectively and by the law.\" At the time, Rehab offered 22 daybeds and 51 cabanas. Describing the success of Rehab, Kohoutek said, \"People want to come out and get some sun by the pool no matter what, but making it a nightclub atmosphere just entices them more. Everybody wants to party and they want to be in the sun while they do it.\"\n\nRehab remained popular a decade after its opening. Aside from pool renovations and expansions, the event stayed largely the same over the years, a fact that the Hard Rock Hotel cited as a reason for Rehab's success. In 2013, Rehab hosted a bikini contest called the Bikini Invitational, which became a yearly event at Rehab. New bungalows were added to the event in 2015, followed by a revamped stage in 2016. In June 2018, it was announced that Rehab would come to an end later that year, as new owners prepared to renovate the Hard Rock and rebrand it as Virgin Hotels Las Vegas. Rehab held its final pool party on October 14, 2018.\n\nReferences\n\nExternal links\n Official website\n\nHard Rock Hotel and Casino (Las Vegas)\nEvents in Las Vegas\nRecurring events established in 2004\nRecurring events disestablished in 2018", "Cuz We Can is the third studio album by Rehab. Originally available online in 2002, a pressed copy was released March 13, 2007. It is the last album to feature rapper Brooks Buford as he parted ways soon after this album was released online by him.\n\nBackground\nFollowing the success of their official debut album Southern Discomfort, and coming off Warped Tour, the duo were ready to call it quits. On December 9, 2002, right before he was going to leave Rehab, Brooks Buford released a set of unreleased Rehab songs on his fan page/website that were recorded during and after the Southern Discomfort era that didn't make the album, These songs later became what we know of as Cuz We Can which was what Danny Boone named the album in 2007 when he scrapped some of the initial songs and decided to press it.\n\nTrack listing (2002 Internet release)\n \"Intro (WFUK AM 420)\" - 1:06\n \"Here Come The Demons\" - 2:54\n \"Bonfire\" - 3:59\n \"Busted\" - 4:00\n \"Paranoid\" - 3:55\n \"We Ain't Come To Play\" - 4:14\n \"Run\" - 3:50\n \"E.M.S.\" - 0:42\n \"I've Landed\" - 4:16\n \"No Time To Grieve\" - 3:07\n \"So Green\" - 3:54\n \"Defeated\" - 5:01\n \"Aim To Please (feat. Killer Mike)\" - 4:46\n \"Halftime\" - 0:59\n \"Sleeping Giant (feat. Killer Mike)\" - 3:42\n \"Rehab Function\" - 3:15\n \"Jesus Loves Me\" - 4:04\n \"Him And Her\" - 3:27\n \"Huh What\" - 4:24\n \"Shit On Me\" - 3:21\n \"Jaime\" - 3:43\n \"Amends\" - 4:28\n \"Ballad Of Dusty\" - 3:27\n \"Lawn Chair High (feat. Steaknife)\" - 5:07\n \"That Bad\" - 3:08\n \"Post-Game Show\" - 0:32\n\nTrack listing (2007 pressed copy)\n \"Intro (WFUK AM 420)\" – 1:06\n \"Here Come The Demons\" – 2:54\n \"Bonfire\" – 3:59\n \"We Ain't Come To Play\" – 4:14\n \"Jaime\" – 3:43\n \"Lawn Chair High (feat. Steaknife)\" – 5:07\n \"Interlude\" – 0:41\n \"Paranoid\" – 3:55\n \"Rehab Function\" – 3:15\n \"Run\" – 3:50\n \"Interlude\" – 0:58\n \"Sleeping Giant (feat. Killer Mike)\" – 3:42\n \"Deal With Me\" – 3:27\n \"The Ballad Of Dusty Spires\" – 3:27\n \"Do You\" – 4:24\n \"Then Again\" – 3:21\n \"Amends\" – 4:28\n \"Running For An Earhole\" – 4:12\n \"Sixteen Tons (feat. Steaknife)\" – 4:13\n \"Come On Children\" - 3:30\n \"Love Me Tomorrow\" - 3:44\n \"Just Let Go\" - 3:58\n\nPersonnel\nDanny \"Boone\" Alexander - Vocals\nJason \"Brooks\" Buford - Vocals \nDenny \"Steaknife\" Campbell - Producer, vocals\n\nReferences\n\nRehab (band) albums\n2002 albums" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.", "Was Brian Wilsion involved in this?", "Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol,", "What happened following this?", "During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.", "Did he ever get caught and arrested?", "I don't know.", "Did he die from abusing drugs and alcholol?", "Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's \"Salmon Falls\";", "Did he ever go to rehab?", "I don't know." ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
Are there any other interesting aspects about this article?
7
Besides Wilson´s recluse period, are there any other interesting aspects about this article?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts,
Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Brian Wilson", "Recluse period", "What happened during the Recluse period?", "sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior.", "Was Brian Wilsion involved in this?", "Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol,", "What happened following this?", "During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking.", "Did he ever get caught and arrested?", "I don't know.", "Did he die from abusing drugs and alcholol?", "Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's \"Salmon Falls\";", "Did he ever go to rehab?", "I don't know.", "Are there any other interesting aspects about this article?", "During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts," ]
C_48597e5e9c2749c7a10dfc8753392bc8_0
How long did it stay #1 on the charts?
8
How long did Capitol Records-era stay #1 on the charts in 1974?
Brian Wilson
Wilson spent a great deal of the two years following his father's June 1973 death secluded in the chauffeur's quarters of his home; sleeping, abusing alcohol, taking drugs (including heroin), overeating, and exhibiting self-destructive behavior. He attempted to drive his vehicle off a cliff, and at another time, demanded that he be pushed into and buried in a grave he had dug in his backyard. During this period, his voice deteriorated significantly as a result of his mass consumption of cocaine and incessant chain smoking. Wilson later said that he was preoccupied with "[doing] drugs and hanging out with Danny Hutton" (whose house became the center of Wilson's social life) during the mid-1970s. John Sebastian often showed up at Wilson's Bel Air home "to jam" and later recalled that "it wasn't all grimness." Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with Hollywood Vampire colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread"; other visitors of Hutton's home included Vampires Harry Nilsson, John Lennon, Ringo Starr, and Keith Moon. Micky Dolenz recalls taking LSD with Wilson, Lennon, and Nilsson, where Wilson "played just one note on a piano over and over again". On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Jimmy Webb reported Wilson's presence at an August 2, 1974 session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. Sometime in 1974, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping onto stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. During summer 1974, the Capitol Records-era greatest hits compilation Endless Summer reached number 1 on the Billboard charts, reaffirming the relevance of the Beach Boys in the popular imagination. However, recording sessions for a new album under the supervision of Wilson and James William Guercio at Caribou Ranch and the band's studio in Santa Monica that autumn yielded only a smattering of basic tracks, including a banjo-driven arrangement of "The Battle Hymn of the Republic"; "It's O.K.", an uptempo collaboration with Mike Love; the ballad "Good Timin'"; and Dennis Wilson's "River Song". Eventually, Wilson diverted his attentions to "Child of Winter", a Christmas single co-written with Stephen Kalinich; released belatedly for the holiday market on December 23, it failed to chart. Though still under contract to Warner Brothers, Wilson signed a sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records in early 1975. Together, they founded the loose-knit supergroup known as California Music, which involved them along with L.A. musicians Gary Usher, Curt Boettcher, and a few others. This contract was nullified by the Beach Boys' management, who perceived it as an attempt by Wilson to relieve the burden of his growing drug expenses, and it was demanded that Wilson focus his efforts on the Beach Boys, even though he strongly desired to escape from the group. The idea of California Music immediately disintegrated. CANNOTANSWER
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Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. Often called a genius for his novel approaches to pop composition, extraordinary musical aptitude, and mastery of recording techniques, he is widely acknowledged as one of the most innovative and significant songwriters of the 20th century. His work is distinguished for its vocal harmonies, complex orchestrations, and introspective or ingenuous themes. Wilson is also known for his formerly high-ranged singing and for his lifelong struggles with mental illness. Raised in Hawthorne, California, Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop artist credited for writing, arranging, producing, and performing his own material. He also produced other acts, most notably the Honeys and American Spring. By the mid-1960s, he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). In 1964, Wilson suffered a nervous breakdown and resigned from regular concert touring, which led to more refined work, such as the Beach Boys' Pet Sounds, and his first credited solo release, "Caroline, No" (both 1966). As he declined professionally and psychologically in the late 1960s, his contributions to the band diminished, and he became much-mythologized for his lifestyle of seclusion, overeating, and drug abuse. His first comeback, divisive among fans, yielded the would-be solo effort The Beach Boys Love You (1977). In the 1980s, he formed a controversial creative and business partnership with his psychologist, Eugene Landy, and relaunched his solo career with the album Brian Wilson (1988). Wilson disassociated from Landy in 1991. Since 1999, he has toured regularly as a solo artist. Wilson's accomplishments as a producer helped initiate a period of unprecedented creative autonomy for label-signed acts. He is considered to be among the first music producer auteurs and the first rock producers to apply the studio as an instrument. The zeitgeist of the early 1960s is commonly associated with his early songs, and he is regarded as an important figure to many music genres and movements, including the California sound, art pop, chamber pop, punk, dream pop, and outsider music. Wilson's accolades include numerous industry awards, inductions into multiple music halls of fame, and entries on several "greatest of all time" critics' rankings. His life was dramatized in the 2014 biopic Love & Mercy. Life and career 1942–1961: Background and musical training Childhood Brian Douglas Wilson was born on June 20, 1942, at Centinela Hospital in Inglewood, California, the first child of Audree Neva (née Korthof) and Murry Wilson, a machinist and later a part-time songwriter. He has Dutch, Scottish, English, German, Irish, and Swedish ancestry. Brian's two younger brothers Dennis and Carl were born in 1944 and 1946, respectively. Shortly after Dennis' birth, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Like his brothers, Brian suffered abuse from his father that was mostly psychological and sometimes physical. From an early age, Wilson demonstrated an extraordinary skill for learning by ear. Speaking of Wilson's unusual musical abilities prior to his first birthday, his father said that, as a baby, he could repeat the melody from "When the Caissons Go Rolling Along" after only a few verses had been sung by the father. The Wilsons' father encouraged his children in the music field in numerous ways. As a child, Wilson was given six weeks of lessons on a "toy accordion" and, at seven and eight, sang solos in church with a choir behind him. There, his choir director discovered that Wilson had perfect pitch. After the Wilson family purchased a piano for their home, Brian abandoned his accordion and devoted hours to learning his favorite songs on piano. Further to his musical education, Wilson frequently listened to his favorite radio station at the time, KFWB. He was then introduced to R&B by Carl and taught to play boogie woogie piano by their uncle Charlie. According to Brian, he and Carl often "stayed up all night" listening to Johnny Otis' KFOX radio show to discuss its R&B songs and add them "to our musical vocabulary". Carl said that, by the time Brian was ten, "he could play great boogie-woogie piano!" Wilson sang with various students at school functions and with his family and friends at home, teaching his two brothers harmony parts that all three would then practice. He also played piano obsessively after school, deconstructing the harmonies of the Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard. Carl said, "There were many years of [Brian's] life where he did nothing but play the piano. Months at a time. Days on end. Four Freshmen records. Just all music." Brian owned an educational record called The Instruments of the Orchestra, which taught him more about arranging. Later, he learned to write manuscript music from a friend of his father's. Wilson began composing original music in 1955, when he was 12. High school and college In high school, Wilson was quarterback on his local football team at Hawthorne High. He also played baseball and was a cross-country runner in his senior year. Before his success in music, Wilson's only paid employment was a part-time job sweeping at a jewelry store for four months when he was 15. Around this time, Wilson auditioned to be the singer of the record to mark the launch of the Original Sound Record Company, "Chapel of Love" (unrelated to the 1964 song), but he was rejected for being too young. For his 16th birthday, he received a portable two-track Wollensak tape recorder, allowing him to experiment with recording songs, group vocals, and rudimentary production techniques. Biographer Peter Ames Carlin writes that the still-existing tapes suggest that "Brian liked nothing more than to gather his friends around the piano ... Most often he'd harmonize with ... friends from his senior class." Written for his Senior Problems course in October 1959, Wilson submitted an essay, "My Philosophy", in which he stated that his ambitions were to "make a name for myself ... in music." One of Wilson's earliest public performances was at a fall arts program at his high school. He enlisted his cousin and frequent singing partner Mike Love and, to entice Carl into the group, named the newly formed membership "Carl and the Passions." The performance featured tunes by Dion and the Belmonts and the Four Freshmen ("It's a Blue World"), the latter of which proved difficult for the ensemble. The event was notable for the impression which it made on another musician and classmate of Wilson's in the audience, Al Jardine. Fred Morgan, Wilson's high school music teacher, remembered that Wilson, at 17, had demonstrated an above-average understanding of Bach and Beethoven. Nonetheless, he gave Wilson a final grade of C for his Piano and Harmony course due to incomplete assignments. For his final project, instead of composing a 120-measure piano sonata, Wilson submitted a 32-measure piece. Morgan gave the work an F. Reflecting on his last year of high school, Brian said that he was "very happy. I wouldn't say I was popular in school, but I was associated with popular people." Wilson enrolled as a psychology major at El Camino Junior College in Los Angeles, in September 1960, while simultaneously continuing his musical studies at the community college as well. He was disappointed to find that his music teachers strongly disapproved of pop music, and he quit college after a year and half. By Wilson's account, he wrote his first all-original melody, loosely based on a Dion and the Belmonts version of "When You Wish Upon a Star", in 1961. The song was eventually known as "Surfer Girl". However, Wilson's closest high school friends disputed this, recalling that Wilson had written numerous songs prior to "Surfer Girl". Formation of the Beach Boys Wilson, brothers Carl and Dennis, cousin Mike Love, and their friend Al Jardine first appeared as a music group in the autumn of 1961, initially under the name the Pendletones. After being prodded by Dennis to write a song about the local water-sports craze, Wilson and Mike Love together created what became the first single for the band, "Surfin'". Around this time, the group rented an amplifier, a microphone, and a stand-up bass for Jardine to play. After the boys rehearsed for several weeks in the Wilsons' music room, his parents returned home from a brief trip to Mexico. Eventually impressed, Murry Wilson proclaimed himself the group's manager and the band embarked on serious rehearsals for a proper studio session. Recorded by Hite and Dorinda Morgan and released on the small Candix Records label, "Surfin'" became a top local hit in Los Angeles and reached number 75 on the national Billboard sales charts. Dennis later described the first time that his older brother heard their song on the radio, as the three Wilson brothers and David Marks drove in Wilson's 1957 Ford in the rain: "Nothing will ever top the expression on Brian's face, ever ... that was the all-time moment." However, the Pendletones were no more. Without the band's knowledge or permission, Candix Records had changed their name to the Beach Boys. Wilson and his bandmates, following a set by Ike & Tina Turner, performed their first major live show at the Ritchie Valens Memorial Dance on New Year's Eve, 1961. Three days previously, Wilson's father had bought him an electric bass and amplifier. Wilson had learned to play the instrument in that short period of time, with Jardine moving to rhythm guitar. When Candix Records ran into money problems and sold the Beach Boys' master recordings to another label, Wilson's father terminated the contract. As "Surfin'" faded from the charts, Wilson, who had forged a songwriting partnership with local musician Gary Usher, created several new songs, including a car song, "409", that Usher helped them write. Wilson and the Beach Boys cut new tracks at Western Recorders in Hollywood, including "Surfin' Safari" and "409". These songs convinced Capitol Records to release the demos as a single; they became a double-sided national hit. 1962–1966: Peak years Early productions and freelance work As a member of the Beach Boys, Wilson was signed by Capitol Records' Nick Venet to a seven-year contract in 1962. Recording sessions for the band's first album, Surfin' Safari, took place in Capitol's basement studios in the famous tower building in August, but early on Wilson lobbied for a different place to cut Beach Boys tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Wilson's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights. Additionally, during the taping of their first LP, Wilson fought for, and won, the right to helm the production – though this fact was not acknowledged with an album liner notes production credit. Wilson had been a massive fan of Phil Spector – who had risen to fame with the Teddy Bears – and aspired to model his burgeoning career after the record producer. With Gary Usher, Wilson wrote numerous songs patterned after the Teddy Bears, and they wrote and produced some records for local talent, albeit with no commercial success. Brian gradually dissolved his partnership with Usher due to interference from Murry. By mid-1962, Brian was writing songs with DJ Roger Christian. David Marks said, "He was obsessed with it. Brian was writing song with people off the street in front of his house, disc jockeys, anyone. He had so much stuff flowing through him at once he could hardly handle it." Wilson started his own record label, Safari. In October, Safari Records released the single "The Surfer Moon" by Bob & Sheri. It was the first record that bore the label "Produced by Brian Wilson". The only other record the label issued was Bob & Sheri's "Humpty Dumpty". Both songs were written by Wilson. From January to March 1963, Wilson produced the Beach Boys' second album, Surfin' U.S.A.. To focus his efforts on writing and recording, he limited his public appearances with the group to television gigs and local shows. In March, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Western. The Surfin' U.S.A. album was also a big hit in the U.S., reaching number two on the national sales charts by July. The Beach Boys had become a top-rank recording and touring band. Against Venet's wishes, Wilson worked with non-Capitol acts. Shortly after meeting Liberty Records' Jan and Dean (likely in August 1962), Wilson offered them a new song he had written, "Surf City", which the duo soon recorded. On July 20, 1963, "Surf City", which Wilson co-wrote with Jan Berry, was his first composition to reach the top of the US charts. The resulting success pleased Wilson, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean, although they continued to appear on each other's records. Wilson's hits with Jan and Dean effectively revitalized the music duo's then-faltering career. Around the same time, Wilson began producing a girl group, the Honeys, consisting of sisters Marilyn and Diane Rovell and their cousin Ginger Blake, who were local high school students he had met at a Beach Boys concert during the previous August. Wilson pitched the Honeys to Capitol, envisioning them as a female counterpart to the Beach Boys. The company released several Honeys recordings as singles, although they sold poorly. In the meantime, Wilson became closely acquainted with the Rovell family and made their home his primary residence for most of 1963 and 1964. Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, with similarly successful singles. He also produced a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. Still resistant to touring, Wilson was substituted onstage for many of the band's live performances in mid-1963 by Al Jardine, who had briefly quit the band to focus on school. Wilson was forced to rejoin the touring line-up upon Marks' departure in late 1963. Excepting his work with the Beach Boys, for the whole of 1963, Wilson had written, arranged, produced, or performed on at least 42 songs with the Honeys, Jan and Dean, the Survivors, Sharon Marie, the Timers, the Castells, Bob Norberg, Vickie Kocher, Gary Usher, Roger Christian, Paul Petersen, and Larry Denton. International success and first nervous breakdown Throughout 1964, Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group, whose studio output for this year included the albums Shut Down Volume 2 (March), All Summer Long (June), and The Beach Boys' Christmas Album (November). Following a particularly stressful Australasian tour in early 1964, it was agreed by the group to dismiss Murry from his managerial duties. Murry still had a subsequent influence over the band's activities and kept a direct correspondence with Brian, giving him thoughts about the group's decisions; Wilson also periodically sought music opinions from his father. In February, Beatlemania swept the U.S., a development that deeply disturbed Wilson. In a 1966 interview, he commented, "The Beatles invasion shook me up a lot. They eclipsed a lot of what we'd worked for. ... The Beach Boys' supremacy as the number one vocal group in America was being challenged. So we stepped on the gas a little bit." Author James Perone identifies the Beach Boys' May single "I Get Around", their first U.S. number one hit, as representing both a successful response by Wilson to the British Invasion, and the beginning of an unofficial rivalry between him and the Beatles, principally Paul McCartney. The B-side, "Don't Worry Baby", was cited by Wilson in a 1970 interview as "Probably the best record we've done". The increasing pressures of Wilson's career and personal life pushed him to a psychological breaking point. He ceased writing surfing-themed material after "Don't Back Down" in April, and during the group's first major European tour, in late 1964, replied angrily to a journalist when asked how he felt about originating the surfing sound. Wilson resented being identified with surf and car songs, explaining that he had only intended to "produce a sound that teens dig, and that can be applied to any theme. ... We're just gonna stay on the life of a social teenager." He later described himself as a "Mr Everything" that had been so "run down mentally and emotionally ... to the point where I had no peace of mind and no chance to actually sit down and think or even rest." Adding to his concerns was the group's "business operations" and the quality of their records, which he believed suffered from this arrangement. On December 7, in an effort to bring himself more emotional stability, Wilson impulsively married Marilyn Rovell. On December 23, Wilson was to accompany his bandmates on a two-week US tour, but while on a flight from Los Angeles to Houston, began sobbing uncontrollably over his marriage. Al Jardine, who had sat next to Wilson on the plane, later said, "None of us had ever witnessed something like that." Wilson played the show in Houston later that day, but was substituted by session musician Glen Campbell for the rest of the tour dates. At the time, Wilson described it as "the first of a series of three breakdowns I had." When the group resumed recording their next album in January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours. He later told a journalist that his decision had been a byproduct of his "fucked up" jealousy toward Spector and the Beatles. In 1965, Wilson immediately showcased great advances in his musical development with the albums The Beach Boys Today! (March) and Summer Days (And Summer Nights!!) (June). According to Wilson, after the airplane episode, he endeavored to "take the things I learned from Phil Spector and use more instruments whenever I could." Campbell remained on tour with the band until he was no longer able to, in February. As a thanks, Wilson produced a single for Campbell in March, "Guess I'm Dumb", after which the band recruited Columbia Records staff producer Bruce Johnston as Wilson's substitute on tour. In February, March, July, and October, Wilson rejoined the live group for one-off occasions. Growing drug use and religious epiphany With his bandmates often away on tour, Wilson distanced himself socially from the other Beach Boys. Since the autumn of 1964, he had moved from the Rovells' home to a one-bedroom apartment at 7235 Hollywood Boulevard, and given his newfound independence, had begun forming a new social circle for himself through the industry connections he had accumulated. Biographer Steven Gaines writes, "Brian had total freedom from family restraints for the first time. ... he was finally able to make a new set of friends without parental interference." By Gary Usher's account, Wilson had had few close friends and was "like a piece of clay waiting to be molded". By the end of the year, Wilson was one of the most successful, influential, and sought-after young musicians in Los Angeles. However, a wider public recognition of Wilson's talents eluded him until 1966. Wilson stated that "a lot of [his] friends", who were drug users, had "turned [him] on" to drugs while he had been touring with the group. Beforehand, according to Mike Love, Wilson had been known to be strictly opposed to drugs. Wilson's closest friend in this period was Loren Schwartz, a talent agent that he had met at a Hollywood studio. Through Schwartz, Wilson was exposed to a wealth of literature and mystical topics – largely of philosophy and world religions – that he formed a deep fascination with. Schwartz also introduced marijuana and hashish to Wilson, whose habitual use of the drug caused a rift in his marriage to Marilyn, further strained by his frequent visitations to Schwartz' apartment. Beginning with "Please Let Me Wonder" (1965), Wilson wrote songs while under the influence of marijuana, as his 2016 memoir suggested, "smoking a little bit of pot ... changed the way I heard arrangements." His drug use was initially kept hidden from the rest of his family and group. Early in 1965, a few weeks after Wilson and his wife moved into a new apartment on West Hollywood's Gardner Street, Wilson took the psychedelic drug LSD (or "acid") for the first time, under Schwartz' supervision. Schwartz recalled that Wilson's dosage was 125 micrograms of "pure Owsley" and that his first experience included "the full-on ego death". Marilyn recalled that Wilson returned home the next day and recounted his experience, telling her repeatedly that his "mind was blown" and that he had seen God. In Wilson's words, "I took LSD and it just tore my head off. ... You just come to grips with what you are, what you can do [and] can't do, and learn to face it." During his first acid trip, Wilson went to a piano and devised the riff for the band's next single, "California Girls". He later described the instrumental tracking for the song, held on April 6, as "my favorite session", and the opening orchestral section as "the greatest piece of music that I've ever written." For the remainder of the year, he experienced considerable paranoia. Wilson's 2016 memoir states that he refrained from dropping LSD for a second time until he was twenty-three, in 1966 or 1967. Marilyn believed that her husband likely took dozens of LSD trips in the subsequent years, although she had been only aware of the two trips at the time. Following unsuccessful attempts to dissuade him from his constant fraternizing with Schwartz, Marilyn separated from Brian for at least a month. She later said, "He was not the same Brian that he was before the drugs. ... These people were very hurtful, and I tried to get that through to Brian. ... He wasn't devastated at all [by my leaving]. ... I think he was too involved with the drug thing." In mid-1965, at the suggestion of Four Freshmen manager Bill Wagner, Brian consulted with a UCLA psychiatrist on the adverse effects of LSD. The psychiatrist later told Wagner, "I don't know if he is savable. He gives me the impression he's been on it for a while, and he's entirely enamored of it." Speaking in 1966, Wilson said that he had developed an interest in "pills" for the purpose of self-discovery, not recreation, and believed that the usage of psychedelics "won't hurt you". Pet Sounds, "genius" campaign, and Smile Brian and Marilyn eventually reconciled, and in October 1965, moved into a new home on 1448 Laurel Way in Beverly Hills. Wilson said that he spent five months planning an album that would reflect his growing interest in "the making of music for people on a spiritual level." He recalled having an unexpected rush of "creative ideas" and that he "didn't mind" the constant presence of visitors at his home. "so long as there weren't too many and provided I could cop out and sit, thinking. I had a big Spanish table and I sat there hour after hour making the tunes inside my head ... I was taking a lot of drugs, fooling around with pills, a lot of pills, and it fouled me up for a while. It got me really introspective." In December 1965, Tony Asher, a jingle writer whom Wilson had recently met, accepted Wilson's offer to be his writing partner for what became the Beach Boys' next album, Pet Sounds (May 1966). He produced most of Pet Sounds from January to April 1966 at four different Hollywood studios, mainly employing his bandmates on vocals and his usual pool of session musicians for the backing tracks. Among the album tracks, he later described "Let's Go Away for Awhile" as "the most satisfying piece of music" he had made to date, and "I Just Wasn't Made for These Times" as an autobiographical song "about a guy who was crying because he thought he was too advanced". In 1995, he referred to "Caroline, No" as "probably the best I've ever written." Released in March 1966, the album's first single, "Caroline, No", marked the first record credited to Wilson as a solo artist. It led to speculation that he was considering leaving the band. Wilson recalled, "I explained to [the rest of the group], 'It's OK. It is only a temporary rift where I have something to say.' I wanted to step out of the group a little bit and, sure enough, I was able to." "Caroline, No" ultimately stalled at number 32. In the U.S., Pet Sounds faced similarly underwhelming sales. Wilson was "mortified" that his artistic growth failed to translate into a number-one album. According to Marilyn, "When it wasn't received by the public the way he thought it would be received, it made him hold back. ... but he didn't stop. He couldn't stop. He needed to create more." Thanks to mutual connections, Wilson had been introduced to the Beatles' former press officer Derek Taylor, who was subsequently employed as the Beach Boys' publicist. Responding to Brian's request to inspire a greater public appreciation for his talents, Taylor initiated a media campaign that proclaimed Wilson to be a genius. Taylor's prestige was crucial in offering a credible perspective to those on the outside, and his efforts are widely recognized as instrumental in the album's success in Britain. In turn, however, Wilson resented that the branding had the effect of creating higher public expectations for himself. The fact that the music press had begun undervaluing the contributions of the rest of the group also frustrated him and his bandmates, including Love and Carl Wilson. For the remainder of 1966, Wilson focused on completing the band's single "Good Vibrations", which became a number-one hit in December, and a new batch of songs written with session musician Van Dyke Parks for inclusion on Smile, the album planned to follow Pet Sounds. Wilson touted the album as a "teenage symphony to God" and continued to involve more people in his social, business, and creative affairs. Parks said that, eventually, "it wasn't just Brian and me in a room; it was Brian and me ... and all kinds of self-interested people pulling him in various directions." Over the summer, Wilson had become further acquainted with former MGM Records agent David Anderle thanks to a mutual friend, singer Danny Hutton (later of Three Dog Night). Anderle, who was nicknamed "the mayor of hip", acted as a conduit between Wilson and the "hip". Additional writers were brought in as witnesses to Wilson's recording sessions, who also accompanied him outside the studio. Among the crowd: Richard Goldstein from the Village Voice, Jules Siegel from The Saturday Evening Post, and Paul Williams, the 18-year-old founder and editor of Crawdaddy! Television producer David Oppenheim, who attended these scenes to film the documentary Inside Pop: The Rock Revolution (1967), characterized Wilson's home as a "playpen of irresponsible people." 1966–1973: Decline Home studio and Bedroom Tapes Smile was never finished, due in large part to Wilson's worsening mental condition and exhaustion. His friends, family, and colleagues often date the project's unraveling and Wilson's onset of erratic behavior to around November 1966 – namely, when he recorded the would-be album track "Mrs. O'Leary's Cow" (or "Fire"). In early 1967, Wilson and his wife put their Laurel Way home up for sale and took residence at a newly purchased mansion on 10452 Bellagio Road in Bel Air. Wilson also set to work on constructing a personal home studio. By then, most of his new contacts had disassociated or were exiled from his social circle. In May, Derek Taylor announced that the six-months-overdue Smile album had been "scrapped". Wilson explained in a 1968 interview, "We pulled out of that production pace, really because I was about ready to die. I was trying so hard. So, all of a sudden I decided not to try any more." The underwhelming critical and commercial response to the band's July single "Heroes and Villains" has been cited as another exacerbating factor in Wilson's professional and psychological decline. Starting with Smiley Smile (September 1967), the band made Wilson's home their primary base of recording operations until 1972. The album was also the first in which production was credited to the entire group instead of Wilson alone. Producer Terry Melcher attributed this change to Wilson's self-consciousness over his reputation, unwilling to "put his stamp on records so that peers will have a Brian Wilson track to criticize." In August, Wilson rejoined the live band for two one-off appearances in Honolulu. The shows were recorded for a planned live album, Lei'd in Hawaii, that was never finished. During the sessions for Wild Honey (December), Brian requested Carl to contribute more to the record-making process. Brian also attempted to produce an album for Danny Hutton's new group, Redwood, but after the recording of three songs, including "Time to Get Alone" and "Darlin'", this motion was halted by Mike Love and Carl Wilson, who wanted Brian to focus on the Beach Boys' contractual obligations. Friends (June 1968) was recorded during a period of emotional recovery for Wilson. Although it included more contributions from the rest of the group, he actively led the studio sessions, even on the songs that he did not write. He later referred to it as his second "solo album" (the first being Pet Sounds), as well as his favorite Beach Boys album. For the remainder of 1968, Wilson's songwriting output declined substantially, as did his emotional state, leading him to self-medicate with the excessive consumption of food, alcohol, and drugs. Amid the looming financial insolvency of the Beach Boys, he began to supplement his regular use of amphetamines and marijuana with cocaine. Hutton recalled that Wilson expressed suicidal wishes at the time, and that it was when his "real decline started". In mid-1968, Wilson was admitted to a psychiatric hospital, possibly of his own volition. His issues were not disclosed to the public, and sessions for 20/20 (February 1969) continued in his absence. Journalist Nik Cohn, writing in 1968, said that Wilson had been rumored to be "increasingly withdrawn, brooding, hermitic ... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself." Once discharged later in the year, Wilson rarely finished any tracks for the band, leaving much of his subsequent output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Brian often stayed in his bedroom upstairs while his bandmates recorded in the studio down below. He would occasionally visit a session if he had heard a piece of music that he felt should be changed. Dennis Wilson said that his elder brother began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together." Marilyn Wilson recalled that her husband withdrew because of perceived resentment from the group: "It was like, 'OK, you assholes, you think you can do as good as me or whatever – go ahead – you do it. You think it's so easy? You do it.'" Referencing the accusation that the Beach Boys refused to let Brian work, Dennis said "I would go to his house daily and beg, 'What can I do to help you?' I said, 'Forget recording, forget all of it.' It got to Brian's health." Journalist Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972. Much of the material that Wilson recorded from the epoch remains unreleased and unheard by the public. Chidester states that some of it has been described as "schizophrenia on tape" and "intensely personal songs of gentle humanism and strange experimentation, which reflected on his then-fragile emotional state." Wilson's daughter Wendy remembered, "Where other people might take a run to release some stress, he would go to the piano and write a 5-minute song." Radiant Radish and Sunflower Early in 1969, the Beach Boys commenced recording their album Sunflower (August 1970). Wilson was an active participant in the year-long sessions, writing more than an album's worth of material by himself or with collaborators, most of which was left off the record. He recorded a single for the band, "Break Away", that was co-written with his father, after which he was rarely in the studio until August 1969. Due to his poor reputation in the music industry, the Beach Boys struggled to secure a record contract with another label. In May, he revealed to reporters that the group were on the verge of bankruptcy. His remarks had the effect of ruining negotiations with Deutsche Grammophon and nearly compromised the band's imminent tour of the UK and Europe. In July, Wilson opened a short-lived health food store, the Radiant Radish, with his friend Arnie Geller and cousin Steve Korthof. In August, Sea of Tunes, the band's publishing company that held the rights to their song catalog, was sold to Irving Almo Music for $700,000 (equivalent to $ in ). Wilson signed the consent letter at his father's behest. According to Marilyn, the sale devastated Brian. "It killed him. Killed him. I don't think he talked for days. ... Brian took it as a personal thing, Murry not believing in him anymore." Around this period, Wilson attempted to drive his vehicle off a cliff, and on another occasion, demanded that he be pushed into and buried in a grave that he had dug in his backyard. He channeled his despondence into the writing of his song "'Til I Die", which he described as the summation of "everything I had to say at the time." Later in 1969, Wilson produced a collection of spoken-word recordings, A World of Peace Must Come, for poet Stephen Kalinich. In November, Wilson and his band signed to Reprise Records, a subsidiary of Warner Bros. Part of the contract stipulated Wilson's proactive involvement with the group in all albums. Van Dyke Parks, who brokered the deal, said that "They [the band] were considered a problem at that time ... Everyone at the label just wanted Brian Wilson to come over and write some songs." Before the contract was effectuated, Wilson attended a band meeting with Reprise executives with his face painted bright green. Asked why he did this, Wilson responded, "Just seeing what would happen." Wilson briefly substituted for Love on the road in March 1970, later calling the experience "the best three days of my life, I guess." In April, he attempted to produce a country and western album for the band's co-manager Fred Vail, Cows in the Pasture, that was never finished. In mid-1970, Wilson was reported to be working on a "chorus of frogs" piece for Kalinich and contemplated scoring an Andy Warhol film about a homosexual surfer. Spring and Holland stay Wilson was deeply affected by the poor commercial response to Sunflower and resumed having minimal contributions to the Beach Boys' records. Bruce Johnston characterized him as merely "a visitor" to the sessions for Surf's Up (August 1971). In November 1970, Wilson joined the live band for one-and-a-half dates at the Whisky a Go Go. Following this, Wilson told Melody Maker that although he had been "quite happy living at home", he felt that he was "not as creative as I once was and I'm not participating as much as I should have done." He identified himself as "a kind of drop-out" who sleeps into the afternoon and "potter[s] around doing nothing much." Speaking to a reporter one year later, in September 1971, Wilson said that he had recently returned to "arranging, doing that more than writing now." In December, while at a concert in Long Beach, manager Jack Rieley coaxed Wilson into performing with the Beach Boys, although his time on stage lasted only minutes. In February 1972, Wilson went to an America gig at the Whisky a Go Go; according to Dan Peek, he "held court like a Mad King as Danny Hutton scurried about like his court jester" during the band's performance. From late 1971 to early 1972, Wilson and musician David Sandler collaborated on Spring, the first album by Marilyn Wilson and Diane Rovell's new group, American Spring. As with much of Brian's work in the era, his contributions "ebbed and flowed." It was the most involved Wilson had been in an album's production since Friends in 1968. Meanwhile, Blondie Chaplin stated that Wilson rarely left his bedroom during the recording of Carl and the Passions (April 1972), but "when he came down his contribution was amazing." Wilson's unavailability was such that his image had to be superimposed into the group portrait included in the record's inner sleeve. During the summer of 1972, Wilson joined his bandmates when they temporarily moved base to Holland, albeit after much cajoling. While living in a Dutch house called "Flowers" and listening repeatedly to Randy Newman's newest album Sail Away, Wilson was inspired to write a fairy tale, Mount Vernon and Fairway, loosely based on his memories listening to the radio at Mike Love's family home as a teenager. The group rejected his proposal to include the fairy tale on their next album, Holland (January 1973). Instead, it was packaged with Holland as a bonus EP. In 1973, Jan Berry (under the alias JAN) released the single "Don't You Just Know It", a duet featuring Wilson. That April, Wilson briefly joined his bandmates onstage during an encore for the group's concert at the Hollywood Palladium. 1973–1975: Recluse period After his father's death in June 1973, Wilson secluded himself in the chauffeur's quarters of his home, where he spent his time sleeping, abusing drugs and alcohol, overeating, and exhibiting self-destructive behavior. He rarely ventured outside wearing anything but pajamas and later said that his father's death "had a lot to do with my retreating." Wilson's family were eventually forced to take control of his financial affairs due to his irresponsible drug expenditures. This led Brian to occasionally wander the city, begging for rides, drugs, and alcohol. According to Wilson, from 1974 to 1975, he recorded only "skimpy little bits and pieces, little fragments" due to a loss of "the ability to concentrate enough to follow through." Reflecting on this period, Wilson said that he was preoccupied with snorting cocaine, reading magazines such as Playboy and Penthouse, and "hanging out with Danny Hutton", whose Laurel Canyon house had become the center of Wilson's social life. Although increasingly reclusive during the day, Wilson spent many nights at Hutton's house fraternizing with colleagues such as Alice Cooper and Iggy Pop, who were mutually bemused by an extended Wilson-led singalong of the folk song "Shortnin' Bread". According to Cooper, Wilson proclaimed that it was "the greatest song ever written." Other visitors of Hutton's home included Harry Nilsson, John Lennon, Ringo Starr and Keith Moon. On several occasions, Marilyn Wilson sent her friends to climb Hutton's fence and retrieve her husband. Of Wilson in the early 1970s, music historian Charles Granata writes, "The stories—many of them dubious—are legendary." Cooper told another story in which he witnessed Wilson at a party, with John Lennon, repeatedly asking fellow attendees to introduce him to the Beatle, one after another. Micky Dolenz, recalling an occasion in which he took LSD with Wilson, Nilsson, and Lennon in Malibu, said that Wilson "played just one note on a piano over and over again". John Sebastian often showed up at Wilson's home "to jam" and later recalled of Wilson's situation, "It wasn't all grimness." Jeff Foskett, a Beach Boys fan who visited Wilson's home unannounced, said that Wilson was cordial and belied the popular myths surrounding him. Paul McCartney and his wife Linda visited Wilson in April 1974, but Wilson refused to let them inside his home. Jimmy Webb reported Wilson's presence at an August session for Nilsson's "Salmon Falls"; he kept in the back of the studio playing "Da Doo Ron Ron" haphazardly on a B3 organ. Later that month, he played on the sessions for Keith Moon's solo album, Two Sides of the Moon, and was photographed at Moon's 28th birthday party (held on August 28 at the Beverly Wilshire Hotel) wearing only his bathrobe. On another occasion that year, Wilson interrupted a set by jazz musician Larry Coryell at The Troubadour by leaping on stage and singing "Be-Bop-A-Lula", again wearing slippers and a bathrobe. The Beach Boys' greatest hits compilation Endless Summer was a surprise success, becoming the band's second number-one U.S. album in October 1974. To take advantage of their sudden resurgence in popularity, Wilson agreed to join his bandmates in Colorado for the recording of a new album at James William Guercio's Caribou Ranch studio. The group completed a few tracks, including "Child of Winter (Christmas Song)", but ultimately abandoned the project. Released as a single at the end of December 1974, "Child of Winter" was their first record that displayed the credit "Produced by Brian Wilson" since 1966. Early in 1975, while still under contract with Warner Bros., Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records. Together, they founded the loose-knit supergroup known as California Music, which also included involvement from Gary Usher, Curt Boettcher, and other Los Angeles musicians. Along with his guest appearances on Johnny Rivers' rendition of "Help Me, Rhonda" and Jackie DeShannon's "Boat to Sail", Wilson's production of California Music's single "Why Do Fools Fall in Love" represents his only "serious" work throughout this period of semi-inactivity. An event that Wilson remembered as the most embarrassing in his life was when he met Elvis Presley at RCA Victor Studio in 1975 when Presley was recording "Pieces of My Life". Wilson was accordingly "so nervous" that he attempted to karate chop the singer. Also in 1975, NME published an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson in a highly unfavorable light. Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the article. 1975–1982: "Brian's Back!" 15 Big Ones and Love You Wilson's overconsumption of food, cigarettes, alcohol, and other drugs – which now sometimes included heroin – further strained his marriage to Marilyn, who responded by threatening her husband with divorce or committing him to a mental institution. By then, Wilson's weight had ballooned to . To help reverse his physical decline, in 1975, band manager Stephen Love appointed his brother Stan, a basketball player, as Wilson's bodyguard, trainer, and caretaker. Marilyn also called in the band's lawyers and accountants to remind her husband that, pursuant to the terms of his contract with Warner Bros., he was legally obligated to write and produce for the Beach Boys or else he would be sued by the label and lose his home. Stan was successful in improving Wilson's health and lifestyle, but after several months, went back to working with the NBA. Wilson then volunteered into psychologist Eugene Landy's radical 24-hour therapy program in October. Under Landy's care, Wilson became more stable and socially engaged, with his productivity increasing once again. Throughout 1976, the tagline "Brian's Back!" became a major promotional tool for the band's concert tours, as well as their July release 15 Big Ones, the first Beach Boys album that credited Wilson as the sole producer since Pet Sounds. The sessions were fraught with tension, as Wilson's bandmates fought against his wish to record a covers album and did not feel that he was ready to assume control of their studio proceedings. Ultimately, a compromise was reached, with the album including a mix of covers and originals. Starting on July 2, 1976, Wilson made regular concert appearances with his bandmates for the first time since December 1964, singing and alternating between bass guitar and piano. In August, Wilson traveled with his group for concert dates outside of California, the first time he had done so since March 1970. NBC also premiered a Lorne Michaels-produced television special about the band, called simply The Beach Boys, which included recent concert footage, interviews, and a comedy sketch involving Wilson and NBC's Saturday Night cast members Dan Aykroyd and John Belushi. Despite its success, the "Brian's Back" promotion proved controversial. Wilson's remarks to interviewers suggested that he had yet to fully recover from his addictions, and he remarked on one occasion that he "'felt like a prisoner". A concert reviewer noted that Wilson "seemed uncomfortable on stage" and contributed "nil". From October 1976 to January 1977, Wilson produced a large collection of studio recordings, largely by himself while his bandmates were preoccupied with other personal and creative affairs. Released in April 1977, The Beach Boys Love You was the Beach Boys' first album to feature Wilson as a primary composer since Wild Honey in 1967. Originally titled Brian Loves You, Wilson played virtually all of the instruments on the album. Once again, he was credited as producer, although Carl was credited as "mixdown producer". Band engineer Earle Mankey described it as "Brian Wilson giving what he had [to make] a serious, autobiographical album." Asked for his favorite Beach Boys albums in a 1998 interview, Wilson responded with 15 Big Ones and Love You. Wilson's family and management relieved Landy of his services at the end of 1976, when he raised his monthly fees to $20,000 (equivalent to $ in ). Shortly afterward, Wilson told a journalist that he felt the treatment had been a success despite the exorbitant fees. Landy's role as Wilson's handler and constant supervisor was immediately taken over by Wilson's cousins, Steve Korthof and Stan Love, and a professional model, Rocky Pamplin, who had been friends with Love in college. Wilson maintained a healthy, drug-free disposition for several months under their auspices. In March 1977, the Beach Boys signed to CBS Records, whose contract stipulated that Wilson compose most of the material on all of the group's albums. According to Gaines, "When Brian signed the contract, he cried, knowing he would now have to go back to the studio full-time." Referencing the sessions for M.I.U. Album (October 1978), Wilson said that he went through a "mental blank-out" during this period. Wilson was credited as the album's "executive producer", likely for contractual reasons. Stan said that Wilson was "depressed" and "didn't want to write with [Mike] anymore, but of course Mike tried to hang on." Around this time, Wilson attempted to produce an album for Pamplin that would have featured the Honeys as backing vocalists. Hospitalizations and relapse Wilson entered a period of regression over the subsequent years – particularly, after the band's disastrous tour of Australia in 1978 – and found ways of obtaining cocaine and barbiturates without the knowledge of his handlers. In mid-1978, a day after he overdosed on a combination of drugs, he disappeared from his family and went hitchhiking in West Hollywood, ultimately arriving at a gay bar, where he played piano for drinks. After this, he was driven to Mexico by a bar patron, and then hitchhiked to San Diego. Days later, police officers discovered Wilson lying under a tree in Balboa Park without shoes, money, or a wallet. They promptly took him to Alvarado Hospital for detox from alcohol poisoning. Once discharged, Wilson immediately joined his bandmates for the recording of L.A. (Light Album) (March 1979), but after producing some demos, requested that Bruce Johnston helm the project. Korthof recalled, "Brian was real weird then, real quiet, not saying much. Real depressed. I think he just realized he wasn't going to be able to pick up the slack." Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive (March 1980), but he was unable or unwilling. With his marriage disintegrated, Wilson moved from his mansion on Bellagio Road to a small house on Sunset Boulevard, where he descended further into alcoholism. Following an incident in which he attacked his doctor during a visit, Wilson spent several months institutionalized at Brotzman Memorial Hospital. While there, in January 1979, Stan Love and Rocky Pamplin were dismissed of their services. Wilson was discharged in March. Afterward, Wilson rented a house in Santa Monica and was arranged to be taken care of by a "round-the-clock" psychiatric nursing team. Later, he purchased a home in Pacific Palisades. Brian remained engrossed in his overeating and drug habits, spurred on partly through the influence of Dennis. To motivate his brother to write and produce songs, Dennis would sometimes offer McDonald's hamburgers and grams of cocaine to Brian. In early 1981, Pamplin and Stan Love were convicted of assaulting Dennis in his home after the former bodyguards had heard that Dennis had been supplying Brian with drugs. During this period, Brian's diet included up to four or five steaks a day, as well as copious amounts of ice cream, cookies, and cakes. By the end of 1982, his weight exceeded . 1982–1991: Second Landy intervention Recovery and the Wilson Project In 1982, after Wilson overdosed on a combination of alcohol, cocaine, and other psychoactive drugs, his family and management successfully coordinated an elaborate ruse to convince him to volunteer back into Landy's program. When approached by the band, Landy had agreed to treat Wilson again, but only if he was to be given total control over Brian's affairs without interference from anyone. Additionally, Landy promised that he would need no more than two years to rehabilitate Wilson. On November 5, Wilson was falsely told by the group that he was penniless and no longer a member of the Beach Boys, and if he wanted to continue receiving his share of income from the touring band's earnings, he had to reenlist Landy as his caretaker. Wilson acquiesced and was subsequently taken to Hawaii, where he was isolated from friends and family and put on a rigorous diet and health regimen. Coupled with counseling sessions, which involved reteaching Wilson basic social etiquette, this therapy was successful in bringing him back to physical health. By March 1983, he had returned to Los Angeles and was moved by Landy into a home in Malibu, where Wilson lived with several of Landy's aides and was cut off from contacting many of his own friends and family, including his children and ex-wife Marilyn. Between 1983 and 1986, Landy charged about $430,000 annually (equivalent to $ in ). When Landy requested more money, Carl Wilson was obliged to give away a quarter of Brian's publishing royalties. Landy soon extended to being Brian's creative and financial partner. Eventually, Landy became his representative at the Beach Boys' Brother Records, Inc (BRI) corporate meetings. Landy was accused of creating a Svengali-like environment for Wilson, controlling every movement in his life, including his musical direction. Responding to such allegations, Wilson said, "People say that Dr. Landy runs my life, but the truth is, I'm in charge." He later claimed that, in mid-1985, he attempted suicide by swimming out to sea as far as he could before one of Landy's aides brought him back to shore. As Wilson's recovery consolidated, he actively participated in the recording of the album The Beach Boys (June 1985). The publicity surrounding the release labelled it as a "comeback" for Wilson. Afterward, he stopped working with his bandmates on a regular basis to focus on launching a solo career with Landy's assistance. Starting in 1986, Wilson engaged his former collaborator Gary Usher in writing songs and recording demos for his prospective solo album at Usher's studio. They recorded about a dozens songs in varying stages of completion, most of which remain unreleased. This collection of recordings came to be known as "the Wilson Project". Brian Wilson and Sweet Insanity In January 1987, Wilson agreed to a solo contract offered by Sire Records president Seymour Stein, who stipulated his own choice of co-producer, multi-instrumentalist Andy Paley, to keep Wilson on-task. In exchange, Landy was allowed to take on an "executive producer" role. Other producers, including Russ Titelman and Lenny Waronker, were soon involved, and difficulties between them and Landy ensued throughout the recording sessions. Released in July 1988, Brian Wilson was met with favorable reviews and moderate sales, peaking at number 52 in the U.S. It included "Rio Grande", an eight-minute Western suite written in a similar vein to the songs from Smile. The LP's release was largely overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo", the band's first number-one hit since "Good Vibrations", and their first hit that had no involvement from Wilson. In 1989, Wilson and Landy formed the company Brains and Genius, by which time Landy had ceased to be Wilson's therapist on legal record and had surrendered his license to practice psychology in the state of California. Together, they worked on Wilson's second solo album, Sweet Insanity, with Landy co-writing almost all of the material. Sire rejected the album due to Landy's lyrics and the inclusion of Wilson's rap song "Smart Girls". In May 1989, Wilson recorded "Daddy's Little Girl" for the film She's Out of Control, and in June, was among the featured guests on the charity single "The Spirit of the Forest". Wilson also collaborated with Linda Ronstadt on her single "Adios". Lawsuits and conservatorship Throughout the 1990s, Wilson was embroiled in numerous lawsuits. In August 1989, he filed a $100 million suit against Irving Music to recover the song publishing rights that had been sold by his father decades earlier. Although Wilson failed to recover the rights, he was awarded $10 million through an out of court settlement in April 1992. By 1990, Wilson was estranged from the Beach Boys, with his bandmates deliberately scheduling recording sessions that Wilson could not attend. According to Brother Records president Elliot Lott, the band also twice rejected Wilson's offers to produce an album for them. In October 1991, Wilson's first memoir Wouldn't It Be Nice: My Own Story was published. According to Carlin, in addition to plagiarizing excerpts from earlier biographies, the contents of the book ranged from Wilson's castigations against his bandmates to passages that "read like depositions for their various court cases". The book prompted defamation lawsuits from Love, Al Jardine, Carl Wilson, and his mother Audree Wilson . Following a conservatorship suit filed by Wilson's family in May 1991, Wilson and Landy's partnership was dissolved in December, with a restraining order enacted soon thereafter. A month after Wilson was awarded $10 million from his Irving Almo lawsuit, in May 1992, he was sued by Mike Love for decades-long neglected royalties and songwriting credits. In December 1994, the jury ruled in favor of Love, who was awarded $5 million and a share of future royalties from Wilson. Another lawsuit, this time filed by Wilson against his former conservator Jerome Billet, was enacted in September 1995. Wilson sought $10 million, alleging that Billet "failed to supervise the lawyers" overseeing the suits between Wilson, Irving Music, and Love. 1992–present: Later years Paley sessions, Orange Crate Art, and Imagination Wilson's productivity increased significantly following his disassociation from Landy. The day after the restraining order had been placed on Landy, Wilson had renewed his songwriting partnership with Andy Paley and, together, subsequently wrote and recorded a large collection of material for a proposed Beach Boys album throughout the early to mid-1990s. Concurrently, Wilson worked with Don Was on a documentary about his life, Brian Wilson: I Just Wasn't Made for These Times (1995). The soundtrack consisted of rerecordings of Beach Boys songs and was released as Wilson's second solo album in August. In 1993, Wilson accepted an offer to record an album of songs written by Van Dyke Parks. Credited to the pair, Orange Crate Art was released in October 1995. In the late 1990s, Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them "Everything I Need", appeared on The Wilsons (1997), a project involving Wilson and his daughters. Although some recordings were completed with the Beach Boys, the Wilson/Paley project was ultimately abandoned. Instead, Wilson co-produced the band's 1996 album Stars and Stripes Vol. 1 with Joe Thomas, owner of River North Records and former professional wrestler. In 1997, Wilson moved to St. Charles, Illinois to work on a solo album project with Thomas Released in June 1998, Wilson described his third album, Imagination, as "really a Brian Wilson/Joe Thomas album." It peaked at number 88 in the U.S. and was criticized by fans for its homogenized radio pop sound. Shortly before the album's release, Wilson suffered the loss of what remained of his immediate family with the deaths of his brother Carl and their mother Audree. Numerous reports from this period suggested that Wilson was being pressured to have a career and exploited by those close to him, including his second wife Melinda Ledbetter. Wilson's daughter Carnie referred to Ledbetter as "Melandy", and Ginger Blake, a family friend, characterized Wilson as "complacent and basically surrendered". Mike Love stated that he was in favor of reuniting the Beach Boys with Wilson, however, "Brian usually has someone in his life who tells him what to do. And now that person kinda wants to keep him away from us. I don't know why. You'd have to ask her, I guess." Asked if he still considered himself a Beach Boy, Wilson replied, "No. Maybe a little bit." Referencing Wilson's longtime dependencies on his father and Landy, Westwords Michael Roberts wrote in 2000 that "his public statements over time have tended to reiterate those of whoever's supervising his activities at the moment." From March to July 1999, Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan. His supporting band consisted of former Beach Boys touring musician Jeff Foskett (guitar), Wondermints members Darian Sahanaja (keyboards), Nick Walusko (guitar), Mike D'Amico (percussion, drums), and Probyn Gregory (guitar, horns), and Chicago-based session musicians Scott Bennett (various), Paul Mertens (woodwinds), Bob Lizik (bass), Todd Sucherman (drums), and Taylor Mills (backing vocals). Wilson toured the U.S. again in October. In 2000, Wilson said that the tours "so far [have] been great. I feel much more comfortable on stage now. I have a good band behind me. It's a much better band than the Beach Boys were." In August 1999, Wilson filed suit against Thomas, seeking damages and a declaration which freed him to work on his next album without involvement from Thomas. Thomas reciprocated with his own suit, citing that Ledbetter had "schemed against and manipulated" him and Wilson. The case was settled out of court. Live albums and Brian Wilson Presents Smile Early in 2000, Wilson released his first live album, Live at the Roxy Theatre. Later in the year, he embarked on a series of U.S. concert dates that included the first full live performances of Pet Sounds, with Wilson backed by a 55-piece orchestra. Van Dyke Parks was commissioned to write an overture arrangement of Wilson's songs. Although the tour was positively received by critics, it was poorly attended, and financial losses ran up to hundreds of thousands of dollars. In March 2001, Wilson attended a tribute show held in his honor at the Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades. The Pet Sounds tour was followed by another in 2002, this time playing in Europe, with a sold-out four-night residency at the Royal Festival Hall in London. Recordings from these concerts were released in the form of a second live album, Brian Wilson Presents Pet Sounds Live (June 2002). Over the next year, Wilson continued sporadic recording sessions for his fourth solo album, Gettin' In over My Head. Released in June 2004, the record featured guest appearances from Van Dyke Parks, Paul McCartney, Eric Clapton, and Elton John. Some of the songs were leftovers from Wilson's past collaborations with Paley and Thomas. To the surprise of his associates, Wilson agreed to follow the Pet Sounds tours with concert dates that would feature songs from the unfinished Smile album arranged for live performance. Sahanaja assisted Wilson with the sequencing, and later, they were joined by Parks, who was brought in to contribute additional lyrics. Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. Encouraged by the positive reception, a studio album adaptation was soon recorded. Wilson's engineer Mark Linett recalled that when he handed Wilson the CD of the completed album, "I swear you could see something change in him. And he's been different ever since." According to Sahanaja, Wilson held the CD to his chest and said, "'I'm going to hold this dear to my heart.' He was trembling." Released in September, BWPS debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones, and the highest ever debut for a Beach Boys-related album. It was later certified platinum. In support of BWPS, Wilson embarked on a world tour that included stops in the US, Europe, and Japan. Sahanaja told Australian Musician, "In six years of touring this is the happiest we've ever seen Brian, I mean consistently happy". In July 2005, Wilson performed a concert at Live 8 in Berlin watched by a television audience of about three million. In September 2005, Wilson arranged a charity drive to aid victims of Hurricane Katrina, wherein people who donated $100 or more would receive a personal phone call from Wilson. According to the website, over $250K was raised. In November, Mike Love sued Wilson over "shamelessly misappropriating ... Love's songs, likeness, and the Beach Boys trademark, as well as the 'Smile' album itself" in the promotion of BWPS. The lawsuit was ultimately dismissed on grounds that it was meritless. Covers albums, That Lucky Old Sun, and Beach Boys reunion To celebrate the 40th anniversary of Pet Sounds, Wilson embarked on a brief tour in November 2006. Al Jardine accompanied Wilson for the tour. In 2007, the Southbank Centre in London commissioned Wilson to create another song cycle in the style of Smile. With Scott Bennett, Wilson reconfigured a collection of songs that they had recently written and recorded together. The result, That Lucky Old Sun, was a semi-autobiographical conceptual piece about California. One year after Wilson premiered the work in London, a studio-recorded version of the piece was released as his seventh solo album in September 2008. It received generally favorable reviews. Around this time, Wilson announced that he was developing another concept album, titled Pleasure Island: A Rock Fantasy. Accordingly: "It's about some guys who took a hike, and they found a place called Pleasure Island. And they met all kinds of chicks, and they went on rides and — it's just a concept. I haven't developed it yet. I think people are going to love it — it could be the best thing I've ever done." In 2009, Wilson was asked by Walt Disney Records to record an album of Disney songs. He accepted on the condition that he could also record an album of George Gershwin songs as part of the deal. The latter, Brian Wilson Reimagines Gershwin, was released in August 2010; it reached number 26 on the Billboard 200 and topped Billboards Jazz Albums chart. Wilson embarked on a concert tour in which he performed the album in its entirety. In October 2011, the record was followed by In the Key of Disney, which peaked at number 83 in the U.S. The album was largely overshadowed by the release of The Smile Sessions one week later. Whether Wilson had truly consented to his semi-regular touring schedule since the 2000s remained a subject of debate among fans. Wilson himself frequently stated that he enjoyed live performances, however, writing in his 2011 book about the Beach Boys, Jon Stebbins concluded, "His handlers, managers, and wife insist that he works. It's all a bit Landy-like when you look behind the curtain." Stebbins referred to a "recent interview [in which Brian was asked] what he disliked the most about touring, [and] Brian replied that it was going on stage and performing. ... Upon hearing Brian say that, his 'handler' quickly reminded Brian, through a fake smile, that he loved performing." Asked about Wilson's alleged exploitation in an interview, Jeff Foskett denied the reports. In mid-2011, Wilson reunited with his bandmates to rerecord "Do It Again" surreptitiously for a potential 50th anniversary album. Rumors that the group would reunite for a world tour soon appeared in the music press. Wilson stated in a September report that he was not participating in the tour with his bandmates. "I don't really like working with the guys, but it all depends on how we feel and how much money's involved. Money's not the only reason I made records, but it does hold a place in our lives." Wilson ultimately agreed to the tour, which lasted until September 2012, and an album, That's Why God Made the Radio, released in June 2012. By then, Wilson had renewed his creative partnership with Joe Thomas. Although Wilson was listed as the album's producer, Thomas was credited with "recording", while Mike Love was "executive producer". No Pier Pressure and At My Piano In June 2013, Wilson's website announced that he was recording and self-producing new material with Don Was, Al Jardine, David Marks, former Beach Boy Blondie Chaplin, and guitarist Jeff Beck. It stated that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made the Radio. In January 2014, Wilson declared in an interview that the Beck collaborations would not be released. In September 2014, Wilson attended the premiere of the Bill Pohlad-directed biopic of his life, Love & Mercy, at the Toronto International Film Festival. Wilson had contributed a song to the film, "One Kind of Love", that was nominated for Best Original Song at the 2016 Golden Globe Awards. In October 2014, BBC released a newly recorded version of "God Only Knows" with guest appearances by Wilson, Brian May, Elton John, Jake Bugg, Stevie Wonder, Lorde, and many others. It was recorded to celebrate the launch of BBC Music. A week later, Wilson was featured as a guest vocalist on the Emile Haynie single "Falling Apart". Wilson's cover of Paul McCartney's "Wanderlust" was released on the tribute album The Art of McCartney in November. Released in April 2015, No Pier Pressure marked another collaboration between Wilson and Joe Thomas, featuring guest appearances from Jardine, Marks, Chaplin, and others. Fans reacted negatively to the announcement that Wilson would be recording a duets album, describing it as a "cash-in". A Facebook post attributed to Wilson responded to the feedback: "In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it's my job to do that." The album reached the U.S. top 30, but critical reaction was mixed due to the adult contemporary arrangements and excessive use of autotune. Later in the year, Sahanaja was asked if Wilson was reaching the end of his career as a performing artist. He answered, "I gotta be honest. Each of the past five years I thought to myself, 'Well, this is probably going to be it.'" In March 2016, Wilson embarked on the Pet Sounds 50th Anniversary World Tour, promoted as his final performances of the album. In October, his second memoir, I Am Brian Wilson, was published. It was written by journalist Ben Greenman through several months of interviews with Wilson. Also in October, Wilson announced a new album, Sensitive Music for Sensitive People, comprising originals and rock and roll cover songs. He described the name as a "working title" and said that recording would begin in December. Asked about negative remarks made against him in Wilson's book, Love disputed that Wilson's printed statements were actually spoken by him and suggested that Wilson is "not in charge of his life, like I am mine. ... But, I don't like to put undue pressure on him ... because I know he has a lot of issues." During the filming of the 2021 documentary Brian Wilson: Long Promised Road, Wilson remarked that he had not "had a friend to talk to in three years." In a 2016 Rolling Stone interview, Wilson responded to a question about retiring: "Retirement? Oh, man. No retiring. If I retired I wouldn't know what to do with my time. What would I do? Sit there and go, 'Oh, I don't want to be 74'? I'd rather get on the road and do concerts and take airplane flights." Similarly, in 2017, Wilson told Rolling Stone that he had not written a song since 2012, but still had no intentions of retiring from the road. In 2019, Wilson embarked on a co-headlining tour with the Zombies, performing selections from Friends and Surf's Up. Around this time, Wilson had two back surgeries that left him unable to get around without a walker. Wilson was still performing concerts shows at the time the COVID-19 pandemic emerged in early 2020. He resumed his concert touring in August 2021, with many dates rescheduled to the next year. Two releases followed in November. The first, At My Piano, was issued by Decca and consists of new instrumental rerecordings of Wilson's songs played by himself on piano. The second was the soundtrack to Long Promised Road, which includes new and previously unreleased recordings by Wilson. Artistry Influences Early influences Chord-wise, Wilson's main music influences come from rock and roll, doo-wop, and vocal-based jazz. At about age two, he heard Glenn Miller's 1943 rendition of Gershwin's Rhapsody in Blue, which had a profound emotional impact on him. Wilson said, "It sort of became a general life theme [for me]." As a child, his favorite artists included Roy Rogers, Carl Perkins, Bill Haley, Elvis Presley, Henry Mancini, and Rosemary Clooney. Most of Wilson's education in music composition and jazz harmony came from deconstructing the harmonies of his favorite vocal group, the Four Freshmen, whose repertoire included songs by Gershwin, Jerome Kern, and Cole Porter. Wilson credited his mother with introducing him to the Four Freshmen, and he attributed his love for harmonies and the human voice to the group, whom he considered had a "groovy sectional sound". Their 1956 album Freshmen Favorites was the first pop album that Wilson listened to in its entirety and he cited Voices in Love (1958) as "probably the greatest single vocal album I've ever heard". He referred to their arranger, Dick Reynolds, as "just about a God to me" and later employed his services for the Beach Boys' Christmas album and Adult/Child. It is likely that Wilson learned virtually the entirety of the Four Freshmen's recorded repertoire up through 1961, after which his obsession with the group was reduced. Inquired for his music tastes in 1961, Wilson replied, "top 10", referring to essentially any of the top hits of the era. Particular favorites included many songs by Chuck Berry, the Coasters, and the Everly Brothers. Later in his career, Wilson recorded renditions of certain favorites, including the Everly Brothers' "Devoted to You" (1958), the Robins' "Smokey Joe's Cafe" (1955), the Olympics' "Hully Gully" (1960), the Shirelles' "Mama Said" (1961), and the Regents' "Barbara Ann" (1961). He disliked surf music when the Beach Boys began forming; in the estimation of biographer Timothy White, Wilson instead aspired for a "new plateau midway between Gershwin and the best Four Freshmen material". Gershwin's influence became more apparent in Wilson's music later in his career, particularly after the 1970s, when he dedicated himself to learning the violin parts from Rhapsody in Blue for the first time. In 1994, Wilson recorded a choral version of Rhapsody in Blue with Van Dyke Parks. Spector and Bacharach Phil Spector's influence on Wilson is well-documented. In a 1966 article, Wilson referred to Spector as "the single most influential producer." He reaffirmed in 2000 that Spector was "probably the biggest influence of all ... Anybody with a good ear can hear that I was influenced by Spector. I would listen to his records and pick up ideas." Wilson particularly admired Spector's treatment of "the song as one giant instrument. ... Size was so important to him, how big everything sounded. And he had the best drums I ever heard." He often cited Spector's Christmas album as his favorite album of all time. Music journalist Barney Hoskyns wrote that "It was almost certainly [Bob] Norberg who turned Brian on to the productions of Phil Spector". According to White, the Crystals' Spector-produced hit "He's a Rebel" (1962) "hit Brian hardest" when it was released. Biographer James Murphy says that Lou Adler may have personally introduced Wilson to Spector around June 1963. Wilson's 2016 memoir states that he met Spector only a few days after hearing the Ronettes' "Be My Baby" (1963) for the first time. Wilson recalled that when he heard "Be My Baby" for the first time through his car radio, he immediately pulled over to the side of the road and deemed it the greatest record he had ever heard. Carlin describes the song as having become "a spiritual touchstone" for Wilson, while music historian Luis Sanchez states that it formed an enduring part of Wilson's mythology, being the Spector record that "etched itself the deepest into Brian's mind ... it comes up again and again in interviews and biographies, variably calling up themes of deep admiration, a source of consolation, and a baleful haunting of the spirit." Most accounts suggest that Spector had not shared the same admiration for Wilson's music, but according to Larry Levine, "Brian was one of the few people in the music business Phil respected. ... Phil would tell anybody who listened that Brian was one of the great producers." He remembered that when Wilson attended Spector's sessions, Wilson "would ask questions, but [he] always understood what was happening in the studio. They had a good rapport." After Spector's "You've Lost That Lovin' Feelin'" (1964) became a hit for the Righteous Brothers, Wilson personally phoned Spector's co-writers, Barry Mann and Cynthia Weil, to praise it as the "greatest record ever" and expressed a wish to be their co-writer on future songs. Wilson unsuccessfully submitted two of his compositions to the producer: "Don't Worry Baby" and "Don't Hurt My Little Sister"; both written with the Ronettes in mind. In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby". Burt Bacharach is among the "often-overlooked" influences on Wilson's music. In a 1998 interview, he cited Bacharach as "probably the greatest songwriting genius of the 20th century, and that includes...even better than George Gershwin." He named Spector and Bacharach (along with Chuck Berry) as his main influences chord-wise. Earlier in 1966, he said, "Burt Bacharach and Hal David are more like me. They're also the best pop team – per se – today. As a producer, Bacharach has a very fresh, new approach." He later said that Bacharach's work "had such a profound thing on my head; he got me going in a direction." Wilson produced renditions of Bacharach's "My Little Red Book" and "Walk On By" in 1967 and 1968, respectively, but left the recordings unreleased. Asked for songs he wished he had written, he listed "You've Lost That Lovin' Feelin'", "Be My Baby", and Bacharach's "Here I Am". Others Although it is often reported that the Beach Boys and the Beatles reciprocated each other's musical developments, Wilson rebuked the suggestion that he had been influenced by his rivals. "The Beatles inspired me. They didn't influence me." Carl Wilson supported that his brother preferred the music of Phil Spector over the Beatles. "He loved the Beatles' later music when they evolved and started making intelligent, masterful music, but before that Phil was it." In a 1969 interview, Mike Love rejected the notion of Brian being influenced by the Beatles, adding that "Brian was in his own world, believe me." Wilson acknowledged that he was highly self-conscious of the Beatles as a cultural force. He recalled that he and Mike Love immediately felt threatened by the Beatles and added that he knew the Beach Boys could never match the excitement created by the Beatles as performers, and that this realization led him to concentrate his efforts on trying to outdo them in the recording studio. In a 2002 interview, Wilson said that each new Beatles release, particularly over 1964–65, pushed him "to try something new" in his work. He praised Paul McCartney's bass playing, calling it "technically fantastic, but his harmonies and the psychological thing he brings to the music comes through. Psychologically he is really strong ... The other thing that I could never get was how versatile he was. ... we would spend ages trying to work out where he got all those different types of songs from." Granata writes that Wilson also admired Frankie Valli and the Four Seasons, although Wilson rarely singled them out in interviews. Wilson has referred to Motown as another influence. Cultural historian Hal Lifson argued that Wilson's "symphonic element" was influenced by Disney film soundtracks such as Mary Poppins (1964). In 1986, Wilson told ethnomusicologist David Toop, "I listened to a lot of orchestral music. I learned a lot of tricks too. Nelson Riddle taught me a lot about arranging." Asked about soul music in 2004, he cited Smokey Robinson and Stevie Wonder as influences. Wendy Carlos's 1969 album Switched-On Bach, described by Wilson as "one of the most electrifying records" he had ever heard, influenced his use of synthesizers. In 1976, Wilson commented that he felt contemporary popular music lacked the artistic integrity it once had. , Wilson maintained that he does not listen to modern music, only "oldies but goodies". Singing Through listening to Four Freshmen records, Wilson developed a distinctive singing style in which he sang high without engaging in falsetto, although he did also sing in falsetto on some Beach Boys songs. Wilson recalled that he "learned how to sing falsetto" through listening to the Four Freshmen's renditions of songs like "I'm Always Chasing Rainbows", "I'll Remember April", and "Day by Day". Of his own vocal style, he stated, "I don't think people realize just how much Rosemary Clooney affected my singing. She taught me to sing with love in my heart ... I would sing along with [her recording of "Hey There"], studying her phrasing, and that's how I learned to sing with feeling." Wilson was sometimes embarrassed by his singing and avoided performing in a high voice for a period. He said "I thought people thought I was a fairy. ... The band told me, 'If that's the way you sing, don't worry about it.'" In 1966, Wilson said that the highest note he could sing was D5. After the early 1970s, Wilson's voice degraded due to his excessive consumption of cigarettes and cocaine. In a 1999 interview, Wilson remarked, "You know Bob Dylan? Well, live, you know, he sort of has this harsh, raspy voice. That's what I have. I'm like the Bob Dylan of the '90s." Songwriting Explaining his writing process in 1966, Wilson stated that he started with finding a basic chord pattern and rhythm that he described as "feels", or "brief note sequences, fragments of ideas", and "once they're out of my head and into the open air, I can see them and touch them firmly. They're not 'feels' anymore." He wrote that he aspired to write songs that appear "simple, no matter how complex it really is." In a 2009 interview, he stated that his favorite chord is E major seventh, while his favorite key signatures to play in are B, C, E, and E. Common devices in Wilson's musical structures include: jazz chords (such as sevenths and ninths) chord inversions (especially a tonic with a fifth in the bass) prominent, melodic bass parts functional ambiguity key changes within verse and choruses (including "truck driver's modulations") I – IV – I – V chord progressions (derived from "Da Doo Ron Ron") a circle of fifths run that begins with the mediant (iii) (derived from "Be My Baby") stepwise-falling melodic lines stepwise diatonic rises (such as I – iii – IV – V) whole-step root movement (such as I – VII – VI – V) tertian movement chromatic harmony (including diminished seventh chords) chromatic bass descents (most prominently demonstrated in "Our Prayer" [1969]) alternations between supertonic and dominant chords (ii – V) or tonic and flattened subtonic chords (I – VII) sudden breaks into a cappella (another technique borrowed from the Four Freshmen). "syncopated exercises and counterpoints piled on top of jittery eighth-note clusters and loping shuffle grooves", features that producer Alan Boyd said took "an almost manic edge" in Wilson's work during the 1970s Wilson composed his own arrangements – an unusual practice among rock groups of the 1960s – but typically relied on collaborators for lyrics. Sanchez noted that Wilson usually spared surfing imagery when working with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room". Unlike his contemporaries, the lyrics of Wilson's songs did not touch on social issues, and instead usually dealt with introspective themes. Wilson said that he had "never been the type" to preach social messages in his songs. Recording in the 1960s Studios and musicians On the subject of recording, Wilson said, "I was unable to really think as a producer up until the time where I really got familiar with Phil Spector's work. That was when I started to design the experience to be a record rather than just a song." Wilson often attended Spector's recording sessions, taking notes on the producer's arranging and recording methods (later dubbed the "Wall of Sound"), and adopted the same choice of studios and session musicians as Spector. This collective of studio musicians later became known as the Wrecking Crew. Rather than using Gold Star Studios, Spector's favorite studio, Wilson preferred working at the Studio 3 room of Western for its privacy and for the presence of staff engineer Chuck Britz. From 1962 to 1967, Britz acted as Wilson's "right-hand man". Although more technical recording details such as level mixing and microphone placement were usually handled by Britz, Wilson would adjust the configuration to a large extent. Once Britz assembled a preliminary recording setup, Wilson would take over the console, directing the session musicians from the booth using an intercom or verbal gestures after supplying them with chord charts. According to Britz, "Brian would work with [the players] until he got the sound he wanted. The process often took hours." Wilson's musicians, many of whom had studied in conservatories, were astounded by his abilities. Among them, guitarist Jerry Cole said, "we would walk out of Brian's sessions shaking our heads, saying, 'This son of a bitch is either crazy, or he's an absolute genius.' And the latter came to pass." Keyboardist Don Randi admired Wilson's chord choices and referred to him as "the Bill Evans of rock 'n' roll". Bassist Carol Kaye remembered, "We had to create [instrumental] parts for all the other groups we cut for, but not Brian. We were in awe of Brian." Drummer Hal Blaine, who was similarly amazed by Wilson's talents, slightly differed in his account of the players' contributions: "Everyone helped arrange, as far as I'm concerned." For his part, Wilson said that he would work out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation. Dean Torrence stated that Wilson learned "a lot about studio technology from Jan [Berry]", and "Jan pointed out to Brian that, rather wait for the Beach Boys to get off the road to record, he could use [session musicians] instead and get his records made quicker". However, Wilson had been drawing from Spector's pool of musicians since first recording at Gold Star in June 1962, before he had met Jan and Dean. Production style Wilson usually instructed Blaine to play only the snare and floor-tom afterbeats used on Spector's records. Owing further to Spector's influence, Wilson rarely used ride or crash cymbals in his work and often combined color tones (such as a banjo doubled with a harpsichord) to produce novel sounds. His best-known productions typically employed instruments such as saxophones and bass harmonicas. Wilson did not usually record his string sections as part of the basic track, instead preferring to overdub them afterward. Once the instrumental track was completed, vocals would then be overdubbed by his group. Beginning in 1963, with the song "Surfin' U.S.A.", Wilson made the production decision from that point on to use double tracking on vocals, resulting in a deeper and more resonant sound. Starting in 1964, Wilson performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1965, he had become more adventurous in his use of tape splicing, such as on the song "And Your Dream Comes True", which was recorded in sections and then edited together to create the final song. These experiments culminated with the similar, but more complex editing processes adopted for "Good Vibrations" and Smile. Mark Linett, who has engineered Wilson's recordings since the 1980s, stated, "He certainly wasn't the first person to do edits, but it was unusual to record a song in four or five sections, and then cut it together." In Priore's assessment, Wilson reconfigured Spector's Wall of Sound techniques in the pursuit of "audio clarity" and "a more lush, comfortable feel". The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and that Spector's productions "do not possess the clean muscle of Brian's work." Danny Hutton, who attended many of Wilson's recording sessions, felt that Wilson's engineering talents had been underrated by the public. Hutton noted, "Somebody could go in right after Brian's session and try to record, and they could never get the sound he got. There was a lot of subtle stuff he did. ... He was just hands-on. He would change the reverb and the echo, and all of a sudden, something just – whoa! – got twice as big and fat." Personal life Deafness in right ear At age 11, during a Christmas choir recital, Wilson was discovered to have significantly diminished hearing in his right ear. A family doctor soon diagnosed the issue as a nerve impingement. The cause is unclear; theories range from it being a birth defect to him being struck by either his father or a neighborhood boy. It is unlikely for Wilson to have been born partially deaf since such congenital defects usually appear at an earlier age. Brian's father Murry offered, "He was injured in some football game or some injury of some kind. Or it just happened, who knows?" According to Brian's mother Audree, "Brian thinks it happened when he was around ten. Some kid down the street really whacked him in the ear." On another occasion, Audree said that the deafness was caused by Murry hitting Brian with an iron while Brian was asleep. One account from Wilson suggested that the deafness was caused by his father slapping his ear shortly before his third birthday. Timothy White states that Brian rarely discussed the issue with Murry after the father had "reacted so menacingly the one time Brian had brought up the subject". Brian said of his father in a 2000 interview, "I was born deaf ... He hit me with a 2×4, but I was already deaf by that time." In his 2016 memoir, the blame is given to a neighborhood boy. Due to this infirmity, Wilson developed a habit of speaking from the side of his mouth, giving the false impression that he had suffered a stroke. He also suffers a ringing in the ear that worsens when he is tired or subjected to loud noise. In the late 1960s, he underwent corrective surgery that was unsuccessful in restoring his hearing. Relationships and children Wilson's first serious relationship was with Judy Bowles, a girl he had met at a baseball game in mid-1961. She inspired his songs "Judy" (1962), "Surfer Girl" (1963), and "The Warmth of the Sun" (1964). During their relationship, Wilson gradually became more romantically involved with Marilyn Rovell, a 14-year-old high school student he had met in August 1962. Wilson's "All Summer Long (1964) nodded to their first meeting with the lyric "Remember when you spilled Coke all over your blouse?" Their relationship was initially kept a secret from outsiders. Inspired by a remark from her older sister Diane, Wilson later wrote "Don't Hurt My Little Sister" (1965) about the affair. Wilson and Bowles were engaged during Christmas 1963 and planned to be married the next December, but ultimately had separated by then. Wilson and Marilyn were married in December 1964. Together, they had two daughters, Carnie and Wendy (born 1968 and 1969, respectively), who later had musical success of their own as two-thirds of the group Wilson Phillips. Wilson believed that he "wasn't a good husband", nor "much of a father". Marilyn said that her husband completely "backed out" of the responsibility of raising their children because he felt that he was an unfit parent and would repeat the same mistakes of his own father. Carlin referred to a "disturbing anecdote" printed in a 1971 Rolling Stone article in which Brian discussed his child's sexual experiments. Brian had remarked, "It just goes to prove that if you don't hide anything from kids, they'll start doing things they normally wouldn't do until much later." Much of the lyrical content from Pet Sounds reflected the couple's early marital struggles. Marilyn reflected, "I slept with one eye open because I never knew what he was going to do. He was like a wild man." A few years into his marriage to Marilyn, Wilson encouraged her to have affairs with other men, including songwriter Tandyn Almer. In turn, Wilson had simultaneous affairs with Diane and a teenage telephone operator named Deborah Keil. Keil was a Beach Boys fan who had moved from Kansas to Los Angeles with the explicit purpose of getting close to Wilson. To Marilyn's chagrin, Wilson permitted Keil's frequent visitations to the Wilson household. Wilson wrote "The Night Was So Young" (1977) about Keil and her nightly visits. In July 1978, Wilson and Marilyn separated, with Wilson filing for divorce in January 1979. Marilyn was given custody of their children. He subsequently maintained a relationship with Keil for some time. Following this, Wilson entered a relationship with one of his nurses, a black woman named Carolyn Williams, which lasted from 1979 to January 1983. His 2016 memoir says of Williams, "My head wasn't on straight at all and I would sometimes say stupid things to her. Once I got impatient and said, 'Get your black ass in there and make me lunch.' I apologized immediately but I didn't feel right about it. She split pretty soon and it was mostly because of me. I'm sorry about it even today." Wilson initially dated former model and car saleswoman Melinda Kae Ledbetter from 1986 to late 1989. Ledbetter stated that the relationship ended prematurely due to interference from Landy. After Wilson parted ways with his psychiatrist, in 1991, he and Ledbetter reconnected and were married on February 6, 1995. Since 1999, Ledbetter has been Wilson's manager, a job which she has said is "basically negotiating, and that's what I did every single day when I sold cars." They adopted five children: Daria Rose (born 1996), Delanie Rae (born 1998), Dylan (born 2004), Dash (born 2009) and Dakota Rose (born 2010). By 2012, Wilson had six grandchildren. Beliefs In various interviews, Wilson frequently emphasized the spiritual qualities of his music, particularly with respect to Pet Sounds. Wilson also had a fascination with matters such as astrology, numerology and the occult that was reflected in his original conceptions for Smile. In 1966, he stated that he believed all music "starts with religion" and that although he believed in "some higher being who is better than we are", he was not religious in a "formal" sense. Asked whether his music was religiously influenced in 1988, he referred to the 1962 book A Toehold on Zen, and said that he believed that he possessed what is called a "toehold". He explained, "say somebody had a grasp on life, a good grasp—they ought to be able to transfer that over to another thing." During the late 1960s, Wilson joined his bandmates in the promotion of Transcendental Meditation (TM). In a 1968 interview, he expressed that religion and meditation were the same, and that, "for the first time in, God, I don't know how many millions of years, or thousands or hundreds, everybody has got a personal path to God". He recalled that he had "already been initiated" into TM beforehand, but "for some ridiculous reason I hadn't followed through with it, and when you don't follow through with something you can get all clogged up." Wilson soon lost interest in TM, saying that "it just doesn't do shit for me. I've given up on it." His mantra was "eye-neh-mah". Wilson described himself in 1976 as someone who had "read too many books" and "went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." He maintained that he still believed, as he did in the 1960s, that the coming of "the great Messiah ... came in the form of drugs", even though his own drug experiences "really didn't work out so well, so positively." According to friend Stanley Shapiro, he and Dennis once discovered a tape reel labelled "Song to God" and attempted to play it in Brian's home. Brian immediately rushed in the room, confiscated the tape, and shouted "Don't you ever touch that again! That's between me and God!" The tape has since been lost. In a 1977 interview, Wilson promoted "sexual deprivation" as a means of becoming "cosmically conscious". In another interview, from 1995, he revealed that abstinence was the "secret" to how he functions, calling it an "Einsteinian formula" that "create[s] a void in your brain". In 1999, when asked for his religious beliefs, Wilson responded: "I believe in Phil Spector." Asked again, in 2011, he said that while he had spiritual beliefs, he did not follow any particular religion. Asked in 2004 for his favorite book, Wilson answered "the Bible", and questioned if he believed in life after death, Wilson replied "I don't." Wilson was quoted as saying about the Beach Boys' political affiliations in the 1980s, "Bipartisan means you don't take sides. We have that image with the public. We're not known to America as either Democrats or Republicans." Mental health Wilson is diagnosed with schizoaffective disorder and mild manic depression. He regularly experiences auditory hallucinations that present in the form of disembodied voices. According to Wilson, he began having hallucinations at the age of 22 in 1965, shortly after starting to use psychedelic drugs, but the age of 21 has also been reported. He has suffered from paranoid delusions, such as believing that "the devil was chasing me around and [that he] came in the form of other people that were competing with me and had ideas of killing me." According to Gaines, Wilson's family and friends often struggled "to tell how much of his behavior was out of true craziness and how much was Brian's clever faking". Wilson's 1991 memoir suggests that his airplane episode from December 1964 made him conscious of the fact that he "could manipulate people to get my way" through displays of "craziness". After the incident, Marilyn brought Wilson to his first visit to a psychiatrist, who ruled that Wilson's condition was simply a byproduct of work fatigue. Wilson typically refused counseling, and it had been long thought by his family that, rather than mental illness, his idiosyncrasies stemmed from his drug habits, or were merely natural to his personality. Marilyn said that while Brian had displayed instances of odd behavior, she began having serious concerns about his mental well-being after the birth of their first child in 1968. Later that year, Brian was admitted to a psychiatric hospital, where he was prescribed Thorazine for severe anxiety disorder. Carlin speculated that Wilson may have self-admitted and may have been administered treatments ranging from talking therapies to doses of Lithium and electroconvulsive therapy during this stay. Responding to accusations of neglect, Marilyn stated that she had sought professional help for her husband for many years. "Brian's ability to 'put on' these professionals made it difficult to find someone who could deal with him on his own level. I am tired of hearing that Brian's problems were never addressed, for those who say that were not there, and do not know the truth!" Following his admission to Landy's program, Wilson was diagnosed with paranoid schizophrenia, with doctors finding evidence of brain damage caused by excessive and sustained drug use. The paranoid schizophrenia diagnosis, originally made by Landy, was later retracted. During this period, Wilson developed facial tics, called tardive dyskinesia, that were symptomatic of the excessive psychotropic medications he was taking. In a 2002 interview, he intimated, "I don't regret [the Landy program]. I loved the guy—he saved me." After Wilson sought medical care elsewhere, he was declared to have organic personality disorder. Musician Sean O'Hagan, who was invited to collaborate with Wilson in the 1990s, characterized Wilson as "totally dependent on other people" and afflicted with "a kinda weird adult autism." Wilson's mental condition improved in later years, although his struggles with auditory hallucinations were not eliminated, as the voices become more pronounced when he performs onstage. He credits his relationship with his second wife for allowing him to resume his career as a musician. In his own words, he said that he should have spent the early 2000s "in a mental institution under heavy sedation" due to the stresses of his condition, however, "Things have started to get a little bit easier, but I'm not always in a positive, happy place." In 2002, he said that he felt that his successful treatment inhibited his creativity and songwriting. In 2019, Wilson postponed some concert dates due to worsening mental health. His social media stated, "I've been struggling with stuff in my head and saying things I don't mean and I don't know why. Its something I've never dealt with before and we can't quite figure it out just yet." The next month, his social media declared that he had recovered and would resume touring. Interviews During his comeback in the late 1970s, Wilson stated that he believed "Interviews are for publicity." At the time, he often solicited drugs from journalists mid-interview. Leaf writes that this was "a game" on Brian's part. "As one friend notes, 'If he had really wanted to get drugs, he would have known where to get them.'" Nonetheless, journalist Alexis Petridis characterized Wilson's interviews from this period as "heartbreaking and horrifying in equal measure, depicting a halting, visibly terrified man who said he 'felt like a prisoner'". In later years, some writers have accused Wilson of being difficult to interview, as his responses are usually curt or lacking in substance. According to Salon writer Peter Gilstrap: "He's also been known to get up, extend a hand and blurt out 'Thanks!' well before the allotted time is up. And sometimes he just gets tired and shuts down. None of this, however, is due to a bad attitude." During one 2007 interview, Wilson was asked about "good movies" he had watched recently and answered with Norbit. Then, asked for his favorite movie ever, Wilson again answered Norbit. Writing in a Spin piece marking the tenth anniversary of the exchange, journalist Winston Cook-Wilson (no relation) referred to it as a typical example of Brian's terseness, and jokingly as "one of the most important blog posts in recent American history". Wilson has admitted to having a poor memory and occasionally lying in interviews to "test" people. David Oppenheim, who interviewed Wilson in 1966, remembered that "we tried to talk with him but didn't get much out of him. Some guy said 'He's not verbal.'" In 2017, The Charlotte Observers Theodon Janes surmised that while Wilson's past struggles with mental illness are widely documented, he still "is faring well enough to write a book ... and to headline [a] hugely ambitious concert tour, so presumably he's capable of telling people who work for him that he's not up for interviews, if he isn't." Influence and legacy Sales achievements From 1962 to 1979, Wilson wrote or co-wrote more than two dozen U.S. Top 40 hits for the Beach Boys. Eleven of those reached the top 10, including the number-ones "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). Three more that he produced, but did not write, were the band's "Barbara Ann" (number 2) in 1965, "Sloop John B" (number 3) in 1966, and "Rock and Roll Music" (number 5) in 1976. Among his other top 10 hits, Wilson co-wrote Jan and Dean's "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8) in 1963, and the Hondells' "Little Honda" (number 9) in 1964. Popular music and record production Wilson is widely regarded as one of the most innovative and significant songwriters of the late 20th century. He was the first pop artist credited for writing, arranging, producing, and performing his own material. Wilson was also one of the first music producer auteurs, helping to popularize the idea of the recording studio as a compositional tool, and was the first rock producer to use the studio as a discrete instrument. In the 2010 book The Producer as Composer: Shaping the Sounds of Popular Music, he is acknowledged as a "brilliant producer" and "a major innovator in the field of music production." The control Wilson had over his own band's records was itself unprecedented in the music industry. Murphy writes, Although there had been numerous examples of artists who were essentially "self-produced", Wilson marked himself as an outlier for having directed every phase of an album's production. His accomplishments as a producer effectively set a precedent that allowed subsequent bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds, and music producers afterward drew on his influence. Granata writes that Wilson's "authoritative approach ... affected his contemporaries" and thus "redefined" the role of the producer. Jimmy Webb explained, "As far as a major, modern producer who was working right in the middle of the pop milieu, no one was doing what Brian was doing. We didn't even know that it was possible until he did it." Following his exercise of total creative autonomy, Wilson ignited an explosion of like-minded California producers, supplanting New York as the center of popular records. His incorporation of quasi-symphonic textures also propelled the mid-1960s art pop movement. According to journalist Erik Davis, "Not only did [he] write a soundtrack to the early '60s, but Brian let loose a delicate and joyful art pop unique in music history and presaged the mellowness so fundamental to '70s California pop." The A.V. Clubs Noel Murray wrote that Wilson was among "studio rats [that] set the pace for how pop music could and should sound in the Flower Power era: at once starry-eyed and wistful." Musicologist Philip Lambert, who has published book-length analyses of Wilson's compositional techniques, writes that Wilson's "harmonic language, considered separately [from his skills as a harmonist, melodist, arranger, and producer], represents a mastery and expansion of the British-American pop idiom of the 1960s". Lambert adds that Wilson's "range of harmonic imagination represents a distinguished contribution to music in the second half of the twentieth century and beyond, balancing the achievements of his artistic forebears ..." Van Dyke Parks remarked, "Brian Wilson was not imitative, he was inventive; for people who don't write songs, it's hard to understand how inventive he really was." He suggested that one of Wilson's artistic strengths was his accessibility. In the wake of Pet Sounds, Wilson was heralded as art rock's leading figure. Writing in 2016, The Atlantics Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art." In the late 1960s, Wilson also started a trend of "project" recording, where an artist records by himself instead of going into an established studio. Cultural legend, alternative music, and tributes Wilson's success is partly attributed to the perceived naïveté of his work and personality. In Hoskyn's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness" personality, alongside the fact that his band was "the very obverse of hip". David Marks similarly opined that although the early records could appear "campy and corny", Wilson "was dead serious about them all and that's what made them work ... It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them." Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since". By the mid-1970s, Wilson had tied with ex-Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Hoskyns identified Wilson's retreat as "central to the obsession many people have with his lost greatness." Timothy White wrote that Wilson's legend rivaled that of the California myth promoted by the Beach Boys. Since then, Wilson became regarded as the most famous example of an outsider musician. He was also influential to punk rock and the movement's evolution into indie rock. Later, Wilson became regarded as "godfather" to an era of indie music heavily indebted to his melodic sensibilities, chamber pop orchestrations, and recording experiments. Author Nathan Wiseman-Trowse credited Wilson (alongside Spector) with having "arguably pioneered", in popular music, the "approach to the sheer physicality of sound", an integral characteristic of the dream pop genre. During the 1980s and 1990s, many of the most popular acts of the era recorded songs that celebrated or referenced Wilson's music, including R.E.M., Bruce Springsteen, Barenaked Ladies, The Jayhawks, and Wilco. John Cale's 1974 album Slow Dazzle included "Mr. Wilson", one of the earliest songs written about Wilson himself. In 2000, Marina Records released Caroline Now!, an album of Wilson's songs recorded by artists including Alex Chilton, Kim Fowley, the Aluminum Group, Eric Matthews, Saint Etienne, Peter Thomas, the High Llamas, and Jad Fair of Half Japanese. In 2009, Pitchfork ran an editorial feature that linked chillwave directly to the Beach Boys, in particular, Wilson's legend as an "emotionally fragile dude with mental health problems who coped by taking drugs." Writing in his 2011 book on the Beach Boys, Mark Dillon stated that tributes to Wilson remained "common among musicians young enough to be his children". Documentary films about Wilson Brian Wilson: I Just Wasn't Made for These Times, directed by Don Was, premiered at the Sundance Film Festival in January 1995. It features new interviews with Wilson and many other musicians, including Linda Ronstadt and Sonic Youth's Thurston Moore, who discuss Wilson's life and his music achievements. Beautiful Dreamer: Brian Wilson and the Story of Smile, directed by David Leaf, premiered on the Showtime network in October 2004. It includes interviews with Wilson and dozens of his associates, albeit none of his surviving bandmates from the Beach Boys, who declined to appear in the film. Brian Wilson: Long Promised Road, directed by Brent Wilson (no relation), premiered at the Tribeca Film Festival in June 2021. It is focused on the previous two decades of Wilson's life, with appearances from Bruce Springsteen, Elton John, Jim James, Nick Jonas, Taylor Hawkins, and Jakob Dylan. Accolades Awards and honors Nine-time Grammy Award nominee, two-time winner. 2005: Best Rock Instrumental Performance for "Mrs. O'Leary's Cow". 2013: Best Historical Album for The Smile Sessions. 1988: Rock and Roll Hall of Fame as a member of the Beach Boys. 2000: Songwriters Hall of Fame, inducted by Paul McCartney, who referred to him as "one of the great American geniuses". 2006: UK Music Hall of Fame, inducted by Pink Floyd guitarist David Gilmour. 2003: Ivor Novello International Award for his contributions to popular music. 2003: Honorary doctorate of music from Northeastern University in Boston, Massachusetts. 2004: BMI Icon at the 52nd annual BMI Pop Awards, being saluted for his "unique and indelible influence on generations of music makers." 2005: MusiCares Person of the Year, for his artistic and philanthropic accomplishments 2007: Kennedy Center Honors committee recognized Wilson for a lifetime of contributions to American culture through the performing arts in music. 2008: Golden Plate Award of the American Academy of Achievement. 2011: UCLA George and Ira Gershwin Award at UCLA Spring Sing. 2016: Golden Globe nomination for "One Kind of Love" from Love & Mercy. Polls and critics' rankings , the website Acclaimed Music lists eight of Wilson's co-written songs within the thousand highest rated songs of all time: "Surfin' U.S.A." from 1963; "Don't Worry Baby" and "I Get Around" from 1964, "California Girls" from 1965; "Wouldn't It Be Nice", "God Only Knows", and "Good Vibrations" from 1966; and "Surf's Up" from 1971. In 1966, Wilson was ranked number four in NMEs "World Music Personality" reader's poll—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In 2008, Wilson was ranked number 52 in Rolling Stones list of the "100 Greatest Singers of All Time". He was described in his entry as "the ultimate singer's songwriter" of the mid-1960s. In 2012, Wilson was ranked number eight in NMEs list of the "50 Greatest Producers Ever", elaborating "few consider quite how groundbreaking Brian Wilson's studio techniques were in the mid-60s". In 2015, Wilson was ranked number 12 in Rolling Stones list of the "100 Greatest Songwriters of All Time". In 2020, Brian Wilson Presents Smile was ranked number 399 in Rolling Stones list of "The 500 Greatest Albums of All Time". Discography Brian Wilson (1988) Sweet Insanity (1991) (unofficial) I Just Wasn't Made for These Times (1995) (soundtrack) Orange Crate Art (1995) (with Van Dyke Parks) Imagination (1998) Gettin' In over My Head (2004) Brian Wilson Presents Smile (2004) What I Really Want for Christmas (2005) That Lucky Old Sun (2008) Brian Wilson Reimagines Gershwin (2010) In the Key of Disney (2011) No Pier Pressure (2015) At My Piano (2021) Brian Wilson: Long Promised Road (2021) (soundtrack) Filmography Film Television See also Pet Projects: The Brian Wilson Productions Playback: The Brian Wilson Anthology List of people with bipolar disorder List of recluses List of unreleased songs recorded by the Beach Boys Notes References Bibliography Further reading External links Brian Wilson's Wave by Peter Ames Carlin, American Heritage, August/September 2004. 21st-century American keyboardists 1942 births Living people Carl Wilson Dennis Wilson American male composers 20th-century American composers American male singers American organists American male organists American pop rock singers American pop rock musicians Record producers from California Surf music record producers American rock bass guitarists American male bass guitarists American rock keyboardists American rock pianists American male pianists American rock songwriters American people of Dutch descent American people of English descent American people of German descent American people of Irish descent American people of Swedish descent Capitol Records artists El Camino College alumni Giant Records (Warner) artists Grammy Award winners Guitarists from California Kennedy Center honorees Musicians from Hawthorne, California Musicians from Inglewood, California Nonesuch Records artists People with bipolar disorder People with brain injuries People with schizoaffective disorder Sire Records artists Singer-songwriters from California The Beach Boys members Outsider musicians American male guitarists Art pop musicians Artists with disabilities Avant-pop musicians 20th-century American guitarists 20th-century American pianists 21st-century American pianists 20th-century organists 21st-century organists 20th-century American keyboardists Deaf musicians
false
[ "Phoenix Rising is a 1998 album by the Temptations for the Motown label, featuring the debut of new Temptations Barrington \"Bo\" Henderson, Terry Weeks, and Harry McGilberry, following the departure of Ali-Ollie Woodson, who ended his tenure with the group (following the release of the 1995 album For Lovers Only); as well as the final Temptations album for Theo Peoples, who Henderson replaced. The album, the Temptations' first million-selling album in over twenty years, features the hit single \"Stay\", which samples the group's 1965 hit \"My Girl\". Although not commercially released as a single, \"Stay\" was a Top 30 R&B Hit, peaking at #28. The Temptations' Phoenix Rising was certified Platinum by the RIAA on November 15, 1999, later reaching Double Platinum status. \"Stay\" also peaked at #1 on the Urban Adult Contemporary charts. Later singles \"This Is My Promise\" and \"How Could He Hurt You\" reached #3 and #5 respectively on the Urban AC charts as well.\n\nTrack listing\n\nPersonnel\nThe Temptations\nTerry Weeks - tenor/baritone vocals\nBarrington \"Bo\" Henderson - tenor vocals on \"How Could He Hurt You\"\nTheo Peoples - tenor/baritone vocals\nOtis Williams - tenor/baritone vocals\nRon Tyson - tenor/falsetto vocals\nHarry McGilberry - bass vocals\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n1998 albums\nThe Temptations albums\nAlbums produced by Narada Michael Walden\nMotown albums", "\"Stay on These Roads\" is a song by Norwegian band A-ha, released on 14 March 1988 as the lead single from their third studio album of the same name (1988). It achieved success in many European countries.\n\nRelease and reception\n\"Stay on These Roads\" was released in the spring of 1988 and became the most successful single from the Stay on These Roads album, along with \"The Living Daylights\" on the UK charts. The song did not hit the national charts in the United States, but was a significant hit across Europe. It went to number seven in Germany, number three in France and Iceland, and number two in Ireland. In Norway, the song was the band's fourth number one single. \"Stay on These Roads\" was A-ha's seventh and final top five showing in the United Kingdom, reaching number five on the chart edition of March 27, 1988. It would also prove their last top ten hit in the country for almost two decades, as they did not score another UK top ten hit until eighteen years later in 2006.\n\nA Roland D-50 was used on this song—the sound patch is called \"Staccato Heaven\"—the wind sound during the instrumental was made on either a Roland Juno 60 or Juno 106 synthesizer.\n\nThe versions on the 7\" vinyl and the 3\" CD single (\"7 inch Version\") are identical to the album version.\n\nA-ha played the song at Oslo Spektrum on 21 August 2011, performing for a national memorial service dedicated to the victims of the 2011 Norway attacks.\n\nMusic video\nThe music video accompanying the song's release was directed by Andy Morahan, with its location footage filmed on England's East Anglia coast at Aldeburgh, Suffolk.\n\nTrack listings\n7-inch single: Warner Bros. / W 7936 United Kingdom\n \"Stay on These Roads\" - 4:46\n \"Soft Rains of April\" (Original Mix) - 3:18\n Track 1 is the \"Album Version\".\n\n12-inch single: Warner Bros. / W 7936T United Kingdom\n \"Stay on These Roads\" (Extended Remix) - 6:08\n \"Soft Rains of April\" (Original Mix) - 3:18\n Also released as a 12\" picture disc (W 8405TP)\n\n7-inch single: Warner Bros. / 7-27886 United States\n \"Stay on These Roads\" (U.S. 7'' Edit) - 3:54\n \"You'll End Up Crying - 3:18\n Track 1 is exclusive to this version\n\nCD single: Warner Bros. / W 7936CD United Kingdom\n \"Stay on These Roads\" (7\" version) - 4:46\n \"Soft Rains of April\" (Original Mix) - 3:18\n \"Take on Me\" - 3:50\n \"Cry Wolf\" - 4:05\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences\n\n1988 singles\n1988 songs\nA-ha songs\nMusic videos directed by Andy Morahan\nNumber-one singles in Denmark\nNumber-one singles in Norway\nSong recordings produced by Alan Tarney\nSongs written by Magne Furuholmen\nSongs written by Morten Harket\nSongs written by Paul Waaktaar-Savoy\nWarner Records singles" ]
[ "John Lee Hooker", "Later career and death" ]
C_169cde506e5f464798f5863246f41ab8_0
What happened in Hooker's later career?
1
What happened in John Lee Hooker's later career?
John Lee Hooker
Beginning in 1962, Hooker gained greater exposure when toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker died in his sleep on June 21, 2001, in Los Altos, California. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. CANNOTANSWER
The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians.
John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie. Hooker was ranked 35 in Rolling Stones 2015 list of 100 greatest guitarists. Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song "I'm In The Mood") and Chill Out (for the album) both earned him Grammy wins as well as Don't Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). Early life Hooker's date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have all been suggested. Most official sources list 1917, though at times Hooker stated he was born in 1920. Information found in the 1920 and 1930 censuses indicates that he was actually born in 1912. In 2017, a series of events took place to celebrate the purported centenary of his birth. In the 1920 federal census, John Hooker is seven years old and one of nine children living with William and Minnie Hooker in Tutwiler, Mississippi. It is believed that he was born in Tutwiler, in Tallahatchie County, although some sources say his birthplace was near Clarksdale, in Coahoma County. He was the youngest of the 11 children of William Hooker (born 1871, died after 1923), a sharecropper and Baptist preacher, and Minnie Ramsey (born c. 1880, date of death unknown). In the 1920 federal census, William and Minnie were recorded as being 48 and 39 years old, respectively, which implies that Minnie was born about 1880, not 1875. She was said to have been a "decade or so younger" than her husband (Boogie Man, p. 23), which gives additional credibility to this census record as evidence of Hooker's origins. The Hooker children were homeschooled. They were permitted to listen only to religious songs; the spirituals sung in church were their earliest exposure to music. In 1921, their parents separated. The next year, their mother married William Moore, a blues singer, who provided John Lee with an introduction to the guitar (and whom he would later credit for his distinctive playing style). Moore was his first significant blues influence. He was a local blues guitarist who, in Shreveport, Louisiana, learned to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. Another influence was Tony Hollins, who dated Hooker's sister Alice, helped teach Hooker to play, and gave him his first guitar. For the rest of his life, Hooker regarded Hollins as a formative influence on his style of playing and his career as a musician. Among the songs that Hollins reputedly taught Hooker were versions of "Crawlin' King Snake" and "Catfish Blues". At the age of 14, Hooker ran away from home, reportedly never seeing his mother or stepfather again. In the mid-1930s, he lived in Memphis, Tennessee, where he performed on Beale Street, at the New Daisy Theatre and occasionally at house parties. He worked in factories in various cities during World War II, eventually getting a job with the Ford Motor Company in Detroit in 1943. He frequented the blues clubs and bars on Hastings Street, the heart of the black entertainment district, on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar. Earlier career Hooker was working as janitor in a Detroit steel mill when his recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen', became a hit and the best-selling race record of 1949. Though illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951–1952), Johnny Lee (for De Luxe Records in 1953–1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man. His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music. For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" (1962) and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay. Later career Beginning in 1962, Hooker gained greater exposure when he toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker owned five houses in his later life, including houses located in Los Altos, California; Redwood City, California, Long Beach, California, and Gilroy, California. Hooker died in his sleep on June 21, 2001, in Los Altos, California in his home. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. Collaborations 1968 with The Groundhogs: Hooker & the Hogs 1969 with The Doors: Hooker and Jim Morrison sing "Roadhouse Blues", published 2000 on the tribute album Stoned Immaculate: The Music of The Doors 1971 with Canned Heat: Hooker 'n' Heat 1985 with Kingfish: "Put A Hand On Me" on the album Kingfish, featuring John Lee Hooker and Mike Bloomfield 1989 Hooker sang on the album The Iron Man by Pete Townshend, on the songs "Over the Top" and "I Eat Heavy Metal" 1991 with Charlie Musselwhite: "Cheatin' On Me" on the album Signature 1992 with Lightnin' Hopkins: "Katie Mae" and "Candy Kitchen" on the album It's A Sin To Be Rich 1992 with Branford Marsalis: "Mabel" on I Heard You Twice the First Time 1992 with John P. Hammond: "Driftin' Blues" on the album Got Love If You Want It 1993 with Zakiya Hooker: "Loving People" and "Mean Mean World" on the album Another Generation Of The Blues 1993 with B.B. King: "You Shook Me" on his album Blues Summit 1993 with Van Morrison: "Gloria" on his album Too Long In Exile 1996 with Michael Osborn: "Shake It Down" on his album Background in the Blues 1997 with Big Head Todd and the Monsters: "Boom Boom" on the album Beautiful World 2001 with Zucchero: "I Lay Down" on his album Shake Several Hooker songs have resulted in remixes. The piece "Sure Thing" on the album Tourist (2000) by the French musician St Germain became well known. This remix is based on vocal and guitar passages from "Harry's Philosophy" from the album Hot Spot (1990). Hooker's adaptation "It Serves Me Right to Suffer" was remixed by French DJ and music producer The Avener (actually Tristan Casara) on his album "The Wanderings of the Avener" (2015). Awards and recognition Among his many awards, Hooker was inducted into the Blues Hall of Fame in 1980, and the Rock and Roll Hall of Fame in 1991. He was a recipient of a 1983 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. He was awarded the Grammy Lifetime Achievement Award in 2000 and has a star on the Hollywood Walk of Fame. He is also inducted into the Mississippi Musicians Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom", are included in the Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll. "Boogie Chillen" is also included in the Recording Industry Association of America's list of the "Songs of the Century". In 2007, John Lee Hooker was voted into the Michigan Rock and Roll Legends Hall of Fame. Grammy Awards Best Traditional Blues Recording, 1990, for I'm in the Mood, with Bonnie Raitt Best Traditional Blues Album, 1995, for Chill Out Best Traditional Blues Recording, 1998, for Don't Look Back Best Pop Collaboration with Vocals, 1998, "Don't Look Back", with Van Morrison Grammy Lifetime Achievement Award, 2000 Discography Charting singles Charting albums Film The Blues Brothers on Maxwell Street (Chicago) outside Aretha Franklin's restaurant (1980) John Lee Hooker & Furry Lewis DVD (1995) John Lee Hooker - That's My Story DVD (2001) John Lee Hooker Rare Performances 1960–1984 DVD (2002) Come See About Me DVD (2004) John Lee Hooker: Bits and Pieces About … DVD and CD (2006) Literature Charles Shaar Murray: Boogie Man – The Adventures of John Lee Hooker in the American Twentieth Century. Penguin Books, England 1999 Robert Palmer: Deep Blues – A Musical and Cultural History of the Mississippi Delta. Penguin Books, Toronto 1982. ISBN 978-0-14-006223-6 References External links The Great R&B-files - The R&B Pioneers Series 1910s births 2001 deaths 20th-century American guitarists Age controversies African-American guitarists African-American male singer-songwriters American blues guitarists American male guitarists American blues singer-songwriters Blues musicians from Mississippi Blues musicians from Tennessee Blues revival musicians Charly Records artists Chess Records artists Country blues musicians Detroit blues musicians Electric blues musicians Flair Records artists Grammy Lifetime Achievement Award winners Kent Records artists Modern Records artists National Heritage Fellowship winners Specialty Records artists Vee-Jay Records artists Singer-songwriters from Tennessee Singer-songwriters from Mississippi Guitarists from Mississippi Guitarists from Tennessee People from Tutwiler, Mississippi People from Los Altos, California Black & Blue Records artists 20th-century African-American male singers Singer-songwriters from California
true
[ "John Williamson Hooker (3 April 1932 – 29 April 2008) was a New Zealand-born Australian novelist.\n\nLife and work \nJohn Hooker was born in Auckland, where he received an MA from the University of Auckland. He spent some time in the US before moving to Australia in 1963, working as publishing director at both Penguin Australia and Collins. He turned to full-time writing in 1985.\n\nHis novels display a gift for \"dramatic action, landscape description and psychological insight\". AustLit notes that they also focus on \"such themes as murder, violence, corruption, racism and love\". The most popular are The Bush Soldiers (1984) and Standing Orders (1986). The Bush Soldiers imagines what might have happened if Japanese forces had invaded Australia during the Second World War. Standing Orders is set during the Korean War.\n\nHooker suffered from multiple sclerosis from his fifties and in later years was confined to a wheelchair. He and his second wife, Rae, moved to Port Fairy on Victoria's west coast, where he wrote a weekly column, \"The Hooker Line\", for the local newspaper The Warrnambool Standard. He died in Melbourne from pneumonia, aged 76, survived by Rae and his son.\n\nBooks\n\nNovels \n Jacob's Season (1971)\n The Bush Soldiers (1984)\n Standing Orders (1986)\n Captain James Cook (1987, based on a screenplay by Peter Yeldham)\n Rubicon (1990)\n Our Jack (1995)\n Beyond the Pale (1998)\n\nNon-fiction \n Brekky, Dinner & Tea: Recipes for When You're Hungry (1985, with John Michie)\n Korea: The Forgotten War (1989)\n\nReferences\n\nExternal links \n John Hooker resources at the National Library of Australia\n\n1932 births\n2008 deaths\nWriters from Auckland\nUniversity of Auckland alumni\nNew Zealand emigrants to Australia\n20th-century Australian novelists\nAustralian male novelists\n20th-century Australian male writers", "Katharine Putnam Hooker (May 2, 1849 – July 20, 1935) was an American travel writer, philanthropist, and socialite.\n\nEarly life\nKatharine Putnam was born in Milwaukee, Wisconsin, the daughter of Samuel Osgood Putnam and Elizabeth Noble Whitney. Her maternal uncles were Josiah Dwight Whitney, the Harvard geologist for whom Mount Whitney is named, and William Dwight Whitney, a noted Sanskrit scholar who taught at Yale. A few years after Katharine was born, Samuel Putnam sent for his wife and daughter to join him in San Francisco, California, where he was living during the California Gold Rush. Their ship sank in the San Francisco Bay, and four-year-old Katharine was among the passengers rescued by a whaling ship. In 1862 young Katharine survived a second shipwreck at Alcatraz Island. As a girl she was a close friend of Alice Howe Gibbens, who later married William James.\n\nCareer\nKatharine Putnam Hooker wrote four books on her travels in Italy: Wayfarers in Italy (1891, 1902), Byways in Southern Tuscany (1918), Farmhouses and Small Provincial Buildings in Southern Italy (1925), and Through the Heel of Italy (1927), all illustrated with photographs by her daughter, Marian Osgood Hooker.\n\nThe Hookers built an admired estate in the West Adams neighborhood of Los Angeles, California, and hosted events in their Italian-inspired gardens, designed by Myron Hunt, including children's festivals. Their frequent guests included naturalist John Muir, scholar David Starr Jordan, and astronomer George Ellery Hale. She served on the Progressive Party's National Committee representing California in 1914.\n\nShe happened to be visiting her elderly father in time to help him evacuate his burning house during the 1906 San Francisco earthquake, and to spend a week in an emergency camp for survivors. In widowhood Katharine Putnam Hooker moved back to San Francisco, where she lived with her daughter and with their friend, Alicia Mosgrove. The trio moved to Berkeley, California together, and then to Santa Barbara, California in 1924.\n\nPersonal life and legacy\nKatharine Putnam married John Daggett Hooker, a businessman, in 1869. They had two children: Lawrence Whitney Hooker died in 1894 while he was a student at Yale Law School. Marian Osgood Hooker became a physician and traveler, and was the first woman to climb Mount Whitney (in 1903, with a group that included John Muir). Katharine Putnam Hooker was widowed in 1911 and died in 1935, in Santa Barbara, aged 86 years. Her grave is in the Angelus-Rosedale Cemetery in Los Angeles.\n\nThe Hooker Family Papers are in the Bancroft Library at the University of California in Berkeley, California. There is another collection at the Bancroft, of letters between John Muir and Katharine Putnam Hooker.\n\nReferences\n\nExternal links\n Katharine Putnam Hooker's gravesite at Find a Grave\n\n1849 births\n1935 deaths\nAmerican travel writers\nAmerican women travel writers\n19th-century American women writers\n20th-century American women writers" ]
[ "John Lee Hooker", "Later career and death", "What happened in Hooker's later career?", "The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians." ]
C_169cde506e5f464798f5863246f41ab8_0
Where these albums successful?
2
Were the albums Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) by John Lee Hooker successful?
John Lee Hooker
Beginning in 1962, Hooker gained greater exposure when toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker died in his sleep on June 21, 2001, in Los Altos, California. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. CANNOTANSWER
One of his earliest collaborations was with British blues rock band the Groundhogs.
John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie. Hooker was ranked 35 in Rolling Stones 2015 list of 100 greatest guitarists. Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song "I'm In The Mood") and Chill Out (for the album) both earned him Grammy wins as well as Don't Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). Early life Hooker's date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have all been suggested. Most official sources list 1917, though at times Hooker stated he was born in 1920. Information found in the 1920 and 1930 censuses indicates that he was actually born in 1912. In 2017, a series of events took place to celebrate the purported centenary of his birth. In the 1920 federal census, John Hooker is seven years old and one of nine children living with William and Minnie Hooker in Tutwiler, Mississippi. It is believed that he was born in Tutwiler, in Tallahatchie County, although some sources say his birthplace was near Clarksdale, in Coahoma County. He was the youngest of the 11 children of William Hooker (born 1871, died after 1923), a sharecropper and Baptist preacher, and Minnie Ramsey (born c. 1880, date of death unknown). In the 1920 federal census, William and Minnie were recorded as being 48 and 39 years old, respectively, which implies that Minnie was born about 1880, not 1875. She was said to have been a "decade or so younger" than her husband (Boogie Man, p. 23), which gives additional credibility to this census record as evidence of Hooker's origins. The Hooker children were homeschooled. They were permitted to listen only to religious songs; the spirituals sung in church were their earliest exposure to music. In 1921, their parents separated. The next year, their mother married William Moore, a blues singer, who provided John Lee with an introduction to the guitar (and whom he would later credit for his distinctive playing style). Moore was his first significant blues influence. He was a local blues guitarist who, in Shreveport, Louisiana, learned to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. Another influence was Tony Hollins, who dated Hooker's sister Alice, helped teach Hooker to play, and gave him his first guitar. For the rest of his life, Hooker regarded Hollins as a formative influence on his style of playing and his career as a musician. Among the songs that Hollins reputedly taught Hooker were versions of "Crawlin' King Snake" and "Catfish Blues". At the age of 14, Hooker ran away from home, reportedly never seeing his mother or stepfather again. In the mid-1930s, he lived in Memphis, Tennessee, where he performed on Beale Street, at the New Daisy Theatre and occasionally at house parties. He worked in factories in various cities during World War II, eventually getting a job with the Ford Motor Company in Detroit in 1943. He frequented the blues clubs and bars on Hastings Street, the heart of the black entertainment district, on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar. Earlier career Hooker was working as janitor in a Detroit steel mill when his recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen', became a hit and the best-selling race record of 1949. Though illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951–1952), Johnny Lee (for De Luxe Records in 1953–1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man. His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music. For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" (1962) and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay. Later career Beginning in 1962, Hooker gained greater exposure when he toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker owned five houses in his later life, including houses located in Los Altos, California; Redwood City, California, Long Beach, California, and Gilroy, California. Hooker died in his sleep on June 21, 2001, in Los Altos, California in his home. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. Collaborations 1968 with The Groundhogs: Hooker & the Hogs 1969 with The Doors: Hooker and Jim Morrison sing "Roadhouse Blues", published 2000 on the tribute album Stoned Immaculate: The Music of The Doors 1971 with Canned Heat: Hooker 'n' Heat 1985 with Kingfish: "Put A Hand On Me" on the album Kingfish, featuring John Lee Hooker and Mike Bloomfield 1989 Hooker sang on the album The Iron Man by Pete Townshend, on the songs "Over the Top" and "I Eat Heavy Metal" 1991 with Charlie Musselwhite: "Cheatin' On Me" on the album Signature 1992 with Lightnin' Hopkins: "Katie Mae" and "Candy Kitchen" on the album It's A Sin To Be Rich 1992 with Branford Marsalis: "Mabel" on I Heard You Twice the First Time 1992 with John P. Hammond: "Driftin' Blues" on the album Got Love If You Want It 1993 with Zakiya Hooker: "Loving People" and "Mean Mean World" on the album Another Generation Of The Blues 1993 with B.B. King: "You Shook Me" on his album Blues Summit 1993 with Van Morrison: "Gloria" on his album Too Long In Exile 1996 with Michael Osborn: "Shake It Down" on his album Background in the Blues 1997 with Big Head Todd and the Monsters: "Boom Boom" on the album Beautiful World 2001 with Zucchero: "I Lay Down" on his album Shake Several Hooker songs have resulted in remixes. The piece "Sure Thing" on the album Tourist (2000) by the French musician St Germain became well known. This remix is based on vocal and guitar passages from "Harry's Philosophy" from the album Hot Spot (1990). Hooker's adaptation "It Serves Me Right to Suffer" was remixed by French DJ and music producer The Avener (actually Tristan Casara) on his album "The Wanderings of the Avener" (2015). Awards and recognition Among his many awards, Hooker was inducted into the Blues Hall of Fame in 1980, and the Rock and Roll Hall of Fame in 1991. He was a recipient of a 1983 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. He was awarded the Grammy Lifetime Achievement Award in 2000 and has a star on the Hollywood Walk of Fame. He is also inducted into the Mississippi Musicians Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom", are included in the Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll. "Boogie Chillen" is also included in the Recording Industry Association of America's list of the "Songs of the Century". In 2007, John Lee Hooker was voted into the Michigan Rock and Roll Legends Hall of Fame. Grammy Awards Best Traditional Blues Recording, 1990, for I'm in the Mood, with Bonnie Raitt Best Traditional Blues Album, 1995, for Chill Out Best Traditional Blues Recording, 1998, for Don't Look Back Best Pop Collaboration with Vocals, 1998, "Don't Look Back", with Van Morrison Grammy Lifetime Achievement Award, 2000 Discography Charting singles Charting albums Film The Blues Brothers on Maxwell Street (Chicago) outside Aretha Franklin's restaurant (1980) John Lee Hooker & Furry Lewis DVD (1995) John Lee Hooker - That's My Story DVD (2001) John Lee Hooker Rare Performances 1960–1984 DVD (2002) Come See About Me DVD (2004) John Lee Hooker: Bits and Pieces About … DVD and CD (2006) Literature Charles Shaar Murray: Boogie Man – The Adventures of John Lee Hooker in the American Twentieth Century. Penguin Books, England 1999 Robert Palmer: Deep Blues – A Musical and Cultural History of the Mississippi Delta. Penguin Books, Toronto 1982. ISBN 978-0-14-006223-6 References External links The Great R&B-files - The R&B Pioneers Series 1910s births 2001 deaths 20th-century American guitarists Age controversies African-American guitarists African-American male singer-songwriters American blues guitarists American male guitarists American blues singer-songwriters Blues musicians from Mississippi Blues musicians from Tennessee Blues revival musicians Charly Records artists Chess Records artists Country blues musicians Detroit blues musicians Electric blues musicians Flair Records artists Grammy Lifetime Achievement Award winners Kent Records artists Modern Records artists National Heritage Fellowship winners Specialty Records artists Vee-Jay Records artists Singer-songwriters from Tennessee Singer-songwriters from Mississippi Guitarists from Mississippi Guitarists from Tennessee People from Tutwiler, Mississippi People from Los Altos, California Black & Blue Records artists 20th-century African-American male singers Singer-songwriters from California
true
[ "Lionel Richie/Commodores Gold is a two disc compilation album by American R&B singer Lionel Richie and American Funk and soul band Commodores, released on January 10, 2006. It contains songs from both his successful solo career and as part of the band the Commodores.\n\nTrack listing\nAll songs written by Lionel Richie, except where noted.\n\nDisc one\n\nDisc two\n\nCharts\n\nReferences \n\nLionel Richie\nLionel Richie albums\nCommodores albums\n2006 compilation albums\nHip-O Records compilation albums\nUniversal Music Group compilation albums\nMotown compilation albums\nSplit albums\nCollaborative albums\nAlbums produced by David Foster\nAlbums produced by James Anthony Carmichael\nAlbums produced by Lionel Richie\nAlbums produced by Jimmy Jam and Terry Lewis", "Japanese musician Ayumi Hamasaki has released more than 100 music videos since her debut in 1998, creating works for songs she has released as singles, as well as songs found exclusively on albums. Hamasaki has released 37 video albums, including 27 concert footage releases. Many of these have been successful, debuting at number one in Japan or Taiwan, while several have been certified gold by the RIAJ: Complete Live Box A (2003), A Museum: 30th Single Collection Live (2004), Arena Tour 2005 A: My Story (2005) and Arena Tour 2006 A: (Miss)understood (2006). Most of these concerts feature footage from her arena tours in Japan, or from her annual Countdown Live New Year's events. Her Tour of Secret video album featured footage from her concerts in Japan, Taiwan, Hong Kong and Shanghai in 2007, while her Ayumi Hamasaki Asia Tour 2008: 10th Anniversary concert recording was filmed exclusively in Taipei, Taiwan.\n\nMusic videos\n\nAs a featured artist\n\nVideo albums\n\nMusic video albums\n\nLive concert video albums\n\nOther video albums\n\nNotes\n\nReferences\n\nVideography\nVideographies of Japanese artists" ]
[ "John Lee Hooker", "Later career and death", "What happened in Hooker's later career?", "The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians.", "Where these albums successful?", "One of his earliest collaborations was with British blues rock band the Groundhogs." ]
C_169cde506e5f464798f5863246f41ab8_0
Did he win any awards?
3
Did John Lee Hooker win any awards?
John Lee Hooker
Beginning in 1962, Hooker gained greater exposure when toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker died in his sleep on June 21, 2001, in Los Altos, California. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. CANNOTANSWER
Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200.
John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie. Hooker was ranked 35 in Rolling Stones 2015 list of 100 greatest guitarists. Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song "I'm In The Mood") and Chill Out (for the album) both earned him Grammy wins as well as Don't Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). Early life Hooker's date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have all been suggested. Most official sources list 1917, though at times Hooker stated he was born in 1920. Information found in the 1920 and 1930 censuses indicates that he was actually born in 1912. In 2017, a series of events took place to celebrate the purported centenary of his birth. In the 1920 federal census, John Hooker is seven years old and one of nine children living with William and Minnie Hooker in Tutwiler, Mississippi. It is believed that he was born in Tutwiler, in Tallahatchie County, although some sources say his birthplace was near Clarksdale, in Coahoma County. He was the youngest of the 11 children of William Hooker (born 1871, died after 1923), a sharecropper and Baptist preacher, and Minnie Ramsey (born c. 1880, date of death unknown). In the 1920 federal census, William and Minnie were recorded as being 48 and 39 years old, respectively, which implies that Minnie was born about 1880, not 1875. She was said to have been a "decade or so younger" than her husband (Boogie Man, p. 23), which gives additional credibility to this census record as evidence of Hooker's origins. The Hooker children were homeschooled. They were permitted to listen only to religious songs; the spirituals sung in church were their earliest exposure to music. In 1921, their parents separated. The next year, their mother married William Moore, a blues singer, who provided John Lee with an introduction to the guitar (and whom he would later credit for his distinctive playing style). Moore was his first significant blues influence. He was a local blues guitarist who, in Shreveport, Louisiana, learned to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. Another influence was Tony Hollins, who dated Hooker's sister Alice, helped teach Hooker to play, and gave him his first guitar. For the rest of his life, Hooker regarded Hollins as a formative influence on his style of playing and his career as a musician. Among the songs that Hollins reputedly taught Hooker were versions of "Crawlin' King Snake" and "Catfish Blues". At the age of 14, Hooker ran away from home, reportedly never seeing his mother or stepfather again. In the mid-1930s, he lived in Memphis, Tennessee, where he performed on Beale Street, at the New Daisy Theatre and occasionally at house parties. He worked in factories in various cities during World War II, eventually getting a job with the Ford Motor Company in Detroit in 1943. He frequented the blues clubs and bars on Hastings Street, the heart of the black entertainment district, on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar. Earlier career Hooker was working as janitor in a Detroit steel mill when his recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen', became a hit and the best-selling race record of 1949. Though illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951–1952), Johnny Lee (for De Luxe Records in 1953–1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man. His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music. For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" (1962) and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay. Later career Beginning in 1962, Hooker gained greater exposure when he toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker owned five houses in his later life, including houses located in Los Altos, California; Redwood City, California, Long Beach, California, and Gilroy, California. Hooker died in his sleep on June 21, 2001, in Los Altos, California in his home. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. Collaborations 1968 with The Groundhogs: Hooker & the Hogs 1969 with The Doors: Hooker and Jim Morrison sing "Roadhouse Blues", published 2000 on the tribute album Stoned Immaculate: The Music of The Doors 1971 with Canned Heat: Hooker 'n' Heat 1985 with Kingfish: "Put A Hand On Me" on the album Kingfish, featuring John Lee Hooker and Mike Bloomfield 1989 Hooker sang on the album The Iron Man by Pete Townshend, on the songs "Over the Top" and "I Eat Heavy Metal" 1991 with Charlie Musselwhite: "Cheatin' On Me" on the album Signature 1992 with Lightnin' Hopkins: "Katie Mae" and "Candy Kitchen" on the album It's A Sin To Be Rich 1992 with Branford Marsalis: "Mabel" on I Heard You Twice the First Time 1992 with John P. Hammond: "Driftin' Blues" on the album Got Love If You Want It 1993 with Zakiya Hooker: "Loving People" and "Mean Mean World" on the album Another Generation Of The Blues 1993 with B.B. King: "You Shook Me" on his album Blues Summit 1993 with Van Morrison: "Gloria" on his album Too Long In Exile 1996 with Michael Osborn: "Shake It Down" on his album Background in the Blues 1997 with Big Head Todd and the Monsters: "Boom Boom" on the album Beautiful World 2001 with Zucchero: "I Lay Down" on his album Shake Several Hooker songs have resulted in remixes. The piece "Sure Thing" on the album Tourist (2000) by the French musician St Germain became well known. This remix is based on vocal and guitar passages from "Harry's Philosophy" from the album Hot Spot (1990). Hooker's adaptation "It Serves Me Right to Suffer" was remixed by French DJ and music producer The Avener (actually Tristan Casara) on his album "The Wanderings of the Avener" (2015). Awards and recognition Among his many awards, Hooker was inducted into the Blues Hall of Fame in 1980, and the Rock and Roll Hall of Fame in 1991. He was a recipient of a 1983 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. He was awarded the Grammy Lifetime Achievement Award in 2000 and has a star on the Hollywood Walk of Fame. He is also inducted into the Mississippi Musicians Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom", are included in the Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll. "Boogie Chillen" is also included in the Recording Industry Association of America's list of the "Songs of the Century". In 2007, John Lee Hooker was voted into the Michigan Rock and Roll Legends Hall of Fame. Grammy Awards Best Traditional Blues Recording, 1990, for I'm in the Mood, with Bonnie Raitt Best Traditional Blues Album, 1995, for Chill Out Best Traditional Blues Recording, 1998, for Don't Look Back Best Pop Collaboration with Vocals, 1998, "Don't Look Back", with Van Morrison Grammy Lifetime Achievement Award, 2000 Discography Charting singles Charting albums Film The Blues Brothers on Maxwell Street (Chicago) outside Aretha Franklin's restaurant (1980) John Lee Hooker & Furry Lewis DVD (1995) John Lee Hooker - That's My Story DVD (2001) John Lee Hooker Rare Performances 1960–1984 DVD (2002) Come See About Me DVD (2004) John Lee Hooker: Bits and Pieces About … DVD and CD (2006) Literature Charles Shaar Murray: Boogie Man – The Adventures of John Lee Hooker in the American Twentieth Century. Penguin Books, England 1999 Robert Palmer: Deep Blues – A Musical and Cultural History of the Mississippi Delta. Penguin Books, Toronto 1982. ISBN 978-0-14-006223-6 References External links The Great R&B-files - The R&B Pioneers Series 1910s births 2001 deaths 20th-century American guitarists Age controversies African-American guitarists African-American male singer-songwriters American blues guitarists American male guitarists American blues singer-songwriters Blues musicians from Mississippi Blues musicians from Tennessee Blues revival musicians Charly Records artists Chess Records artists Country blues musicians Detroit blues musicians Electric blues musicians Flair Records artists Grammy Lifetime Achievement Award winners Kent Records artists Modern Records artists National Heritage Fellowship winners Specialty Records artists Vee-Jay Records artists Singer-songwriters from Tennessee Singer-songwriters from Mississippi Guitarists from Mississippi Guitarists from Tennessee People from Tutwiler, Mississippi People from Los Altos, California Black & Blue Records artists 20th-century African-American male singers Singer-songwriters from California
true
[ "Le Cousin is a 1997 French film directed by Alain Corneau.\n\nPlot \nThe film deals with the relationship of the police and an informant in the drug scene.\n\nAwards and nominations\nLe Cousin was nominated for 5 César Awards but did not win in any category.\n\nReferences\n\nExternal links\n\n1997 films\n1997 crime films\nFilms about drugs\nFilms directed by Alain Corneau\nFrench crime films\nFrench films\nFrench-language films", "The 23rd Fangoria Chainsaw Awards is an award ceremony presented for horror films that were released in 2020. The nominees were announced on January 20, 2021. The film The Invisible Man won five of its five nominations, including Best Wide Release, as well as the write-in poll of Best Kill. Color Out Of Space and Possessor each took two awards. His House did not win any of its seven nominations. The ceremony was exclusively livestreamed for the first time on the SHUDDER horror streaming service.\n\nWinners and nominees\n\nReferences\n\nFangoria Chainsaw Awards" ]
[ "John Lee Hooker", "Later career and death", "What happened in Hooker's later career?", "The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians.", "Where these albums successful?", "One of his earliest collaborations was with British blues rock band the Groundhogs.", "Did he win any awards?", "Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200." ]
C_169cde506e5f464798f5863246f41ab8_0
What other albums were on the charts?
4
What other albums were on the charts by John Lee Hooker other than Canned Heat?
John Lee Hooker
Beginning in 1962, Hooker gained greater exposure when toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker died in his sleep on June 21, 2001, in Los Altos, California. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. CANNOTANSWER
His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK.
John Lee Hooker (August 22, 1912 or 1917 – June 21, 2001) was an American blues singer, songwriter, and guitarist. The son of a sharecropper, he rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie. Hooker was ranked 35 in Rolling Stones 2015 list of 100 greatest guitarists. Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966). Several of his later albums, including The Healer (1989), Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997), were album chart successes in the U.S. and UK. The Healer (for the song "I'm In The Mood") and Chill Out (for the album) both earned him Grammy wins as well as Don't Look Back, which went on to earn him a double-Grammy win for Best Traditional Blues Recording and Best Pop Collaboration with Vocals (with Van Morrison). Early life Hooker's date of birth is a subject of debate; the years 1912, 1915, 1917, 1920, and 1923 have all been suggested. Most official sources list 1917, though at times Hooker stated he was born in 1920. Information found in the 1920 and 1930 censuses indicates that he was actually born in 1912. In 2017, a series of events took place to celebrate the purported centenary of his birth. In the 1920 federal census, John Hooker is seven years old and one of nine children living with William and Minnie Hooker in Tutwiler, Mississippi. It is believed that he was born in Tutwiler, in Tallahatchie County, although some sources say his birthplace was near Clarksdale, in Coahoma County. He was the youngest of the 11 children of William Hooker (born 1871, died after 1923), a sharecropper and Baptist preacher, and Minnie Ramsey (born c. 1880, date of death unknown). In the 1920 federal census, William and Minnie were recorded as being 48 and 39 years old, respectively, which implies that Minnie was born about 1880, not 1875. She was said to have been a "decade or so younger" than her husband (Boogie Man, p. 23), which gives additional credibility to this census record as evidence of Hooker's origins. The Hooker children were homeschooled. They were permitted to listen only to religious songs; the spirituals sung in church were their earliest exposure to music. In 1921, their parents separated. The next year, their mother married William Moore, a blues singer, who provided John Lee with an introduction to the guitar (and whom he would later credit for his distinctive playing style). Moore was his first significant blues influence. He was a local blues guitarist who, in Shreveport, Louisiana, learned to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. Another influence was Tony Hollins, who dated Hooker's sister Alice, helped teach Hooker to play, and gave him his first guitar. For the rest of his life, Hooker regarded Hollins as a formative influence on his style of playing and his career as a musician. Among the songs that Hollins reputedly taught Hooker were versions of "Crawlin' King Snake" and "Catfish Blues". At the age of 14, Hooker ran away from home, reportedly never seeing his mother or stepfather again. In the mid-1930s, he lived in Memphis, Tennessee, where he performed on Beale Street, at the New Daisy Theatre and occasionally at house parties. He worked in factories in various cities during World War II, eventually getting a job with the Ford Motor Company in Detroit in 1943. He frequented the blues clubs and bars on Hastings Street, the heart of the black entertainment district, on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar. Earlier career Hooker was working as janitor in a Detroit steel mill when his recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, "Boogie Chillen', became a hit and the best-selling race record of 1949. Though illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned little from record sales, and so he often recorded variations of his songs for different studios for an up-front fee. To evade his recording contract, he used various pseudonyms, including John Lee Booker (for Chess Records and Chance Records in 1951–1952), Johnny Lee (for De Luxe Records in 1953–1954), John Lee, John Lee Cooker, Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, and the Boogie Man. His early solo songs were recorded by Bernie Besman. Hooker rarely played with a standard beat, but instead he changed tempo to fit the needs of the song. This often made it difficult to use backing musicians, who were not accustomed to Hooker's musical vagaries. As a result, Besman recorded Hooker playing guitar, singing and stomping on a wooden pallet in time with the music. For much of this period he recorded and toured with Eddie Kirkland. In Hooker's later sessions for Vee-Jay Records in Chicago, studio musicians accompanied him on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies. "Boom Boom" (1962) and "Dimples", two popular songs by Hooker, were originally released by Vee-Jay. Later career Beginning in 1962, Hooker gained greater exposure when he toured Europe in the annual American Folk Blues Festival. His "Dimples" became a successful single on the UK Singles Charts in 1964, eight years after its first US release. Hooker began to perform and record with rock musicians. One of his earliest collaborations was with British blues rock band the Groundhogs. In 1970, he recorded the joint album Hooker 'n Heat, with the American blues and boogie rock group Canned Heat, whose repertoire included adaptations of Hooker songs. It became the first of Hooker's albums to reach the Billboard charts, peaking at number 78 on the Billboard 200. Other collaboration albums soon followed, including Endless Boogie (1971) and Never Get Out of These Blues Alive (1972), which included Steve Miller, Elvin Bishop, Van Morrison, and others. Hooker appeared in the 1980 film The Blues Brothers. He performed "Boom Boom" in the role of a street musician. In 1989, he recorded the album The Healer with Carlos Santana, Bonnie Raitt, and others. The 1990s saw additional collaboration albums: Mr. Lucky (1991), Chill Out (1995), and Don't Look Back (1997) with Morrison, Santana, Los Lobos, and additional guest musicians. His re-recording of "Boom Boom" (the title track for his 1992 album) with guitarist Jimmie Vaughan became Hooker's highest charting single (number 16) in the UK. Come See About Me, a 2004 DVD, includes performances filmed between 1960 and 1994 and interviews with several of the musicians. Hooker owned five houses in his later life, including houses located in Los Altos, California; Redwood City, California, Long Beach, California, and Gilroy, California. Hooker died in his sleep on June 21, 2001, in Los Altos, California in his home. He is interred at the Chapel of the Chimes in Oakland, California. He was survived by eight children, 19 grandchildren, and numerous great-grandchildren. Collaborations 1968 with The Groundhogs: Hooker & the Hogs 1969 with The Doors: Hooker and Jim Morrison sing "Roadhouse Blues", published 2000 on the tribute album Stoned Immaculate: The Music of The Doors 1971 with Canned Heat: Hooker 'n' Heat 1985 with Kingfish: "Put A Hand On Me" on the album Kingfish, featuring John Lee Hooker and Mike Bloomfield 1989 Hooker sang on the album The Iron Man by Pete Townshend, on the songs "Over the Top" and "I Eat Heavy Metal" 1991 with Charlie Musselwhite: "Cheatin' On Me" on the album Signature 1992 with Lightnin' Hopkins: "Katie Mae" and "Candy Kitchen" on the album It's A Sin To Be Rich 1992 with Branford Marsalis: "Mabel" on I Heard You Twice the First Time 1992 with John P. Hammond: "Driftin' Blues" on the album Got Love If You Want It 1993 with Zakiya Hooker: "Loving People" and "Mean Mean World" on the album Another Generation Of The Blues 1993 with B.B. King: "You Shook Me" on his album Blues Summit 1993 with Van Morrison: "Gloria" on his album Too Long In Exile 1996 with Michael Osborn: "Shake It Down" on his album Background in the Blues 1997 with Big Head Todd and the Monsters: "Boom Boom" on the album Beautiful World 2001 with Zucchero: "I Lay Down" on his album Shake Several Hooker songs have resulted in remixes. The piece "Sure Thing" on the album Tourist (2000) by the French musician St Germain became well known. This remix is based on vocal and guitar passages from "Harry's Philosophy" from the album Hot Spot (1990). Hooker's adaptation "It Serves Me Right to Suffer" was remixed by French DJ and music producer The Avener (actually Tristan Casara) on his album "The Wanderings of the Avener" (2015). Awards and recognition Among his many awards, Hooker was inducted into the Blues Hall of Fame in 1980, and the Rock and Roll Hall of Fame in 1991. He was a recipient of a 1983 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. He was awarded the Grammy Lifetime Achievement Award in 2000 and has a star on the Hollywood Walk of Fame. He is also inducted into the Mississippi Musicians Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom", are included in the Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll. "Boogie Chillen" is also included in the Recording Industry Association of America's list of the "Songs of the Century". In 2007, John Lee Hooker was voted into the Michigan Rock and Roll Legends Hall of Fame. Grammy Awards Best Traditional Blues Recording, 1990, for I'm in the Mood, with Bonnie Raitt Best Traditional Blues Album, 1995, for Chill Out Best Traditional Blues Recording, 1998, for Don't Look Back Best Pop Collaboration with Vocals, 1998, "Don't Look Back", with Van Morrison Grammy Lifetime Achievement Award, 2000 Discography Charting singles Charting albums Film The Blues Brothers on Maxwell Street (Chicago) outside Aretha Franklin's restaurant (1980) John Lee Hooker & Furry Lewis DVD (1995) John Lee Hooker - That's My Story DVD (2001) John Lee Hooker Rare Performances 1960–1984 DVD (2002) Come See About Me DVD (2004) John Lee Hooker: Bits and Pieces About … DVD and CD (2006) Literature Charles Shaar Murray: Boogie Man – The Adventures of John Lee Hooker in the American Twentieth Century. Penguin Books, England 1999 Robert Palmer: Deep Blues – A Musical and Cultural History of the Mississippi Delta. Penguin Books, Toronto 1982. ISBN 978-0-14-006223-6 References External links The Great R&B-files - The R&B Pioneers Series 1910s births 2001 deaths 20th-century American guitarists Age controversies African-American guitarists African-American male singer-songwriters American blues guitarists American male guitarists American blues singer-songwriters Blues musicians from Mississippi Blues musicians from Tennessee Blues revival musicians Charly Records artists Chess Records artists Country blues musicians Detroit blues musicians Electric blues musicians Flair Records artists Grammy Lifetime Achievement Award winners Kent Records artists Modern Records artists National Heritage Fellowship winners Specialty Records artists Vee-Jay Records artists Singer-songwriters from Tennessee Singer-songwriters from Mississippi Guitarists from Mississippi Guitarists from Tennessee People from Tutwiler, Mississippi People from Los Altos, California Black & Blue Records artists 20th-century African-American male singers Singer-songwriters from California
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[ "Now That's What I Call Music! #1's is a special edition of the Now! series released in the United States on January 24, 2006. It includes 20 tracks that were released on previous editions of the Now! series.\n\nNow! #1's reached number six on the Billboard 200 albums chart and was certified Gold by the RIAA.\n\nOn May 4, 2015, an updated version of the compilation was released, featuring hits from 2006–2015.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n2006 compilation albums\nNow That's What I Call Music! albums (American series)", "What a Wonderful Christmas is an album by Canadian artist Anne Murray. It was released by Straightway Records on October 9, 2001. The album peaked at number 4 on the Billboard Christian Albums chart, number 6 on the Billboard Top Country Albums chart and number 83 on the Billboard 200.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n2001 Christmas albums\nAnne Murray albums\nAlbums produced by Jim Ed Norman\nChristmas albums by Canadian artists\nCountry Christmas albums" ]
[ "Gorillaz", "Creation and early years (1990-99)" ]
C_fb5dadfb60c6438eb0f8405024d25b1c_1
what happened in the early years?
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what happened in the early years to Gorillaz?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides.
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
false
[ "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books", "Ramsey Denison is a director, producer, editor and documentary filmmaker who is best known for his critically acclaimed documentary What Happened in Vegas, which went to #1 on iTunes documentary charts in June 2018.\n\nEarly life and education \nDenison was born in Bellingham, Washington, to parents Tom Denison, a shop teacher, and Carolyn Denison, an educator. He grew up in Satellite Beach, Florida, and graduated with the class of 1997 from Satellite High School. He received a journalism degree from Eastern Washington University.\n\nCareer \nAt 18, Denison went to work for WBCC-TV in Cocoa, Florida. By 2004, he moved to Los Angeles, and the following year was hired as an assistant editor on TV documentaries and reality shows, including Catfish: The TV Show, The Hills Have Eyes, High School Musical 2, Sky High and The Family Stone.\n\nA short film Somewhere in the City, written, directed and produced by Denison, screened at over 30 film festivals and won awards at Vail Film Festival, San Fernando Valley International Film Festival, and Berkeley Film and Video Festival.\n\nIn 2013, Denison and a friend, Rhett Nielson, a former SWAT team videographer in Las Vegas, traveled to Nevada on vacation. While there, Denison witnessed what he told the media was two officers being rough with a suspect. He placed a call to 911 asking that a supervisor respond to the scene. Instead, Denison was himself arrested and spent three days in the Clark County Detention Center.\n\nThe arrest led to Denison developing the story into a documentary about police brutality. It resulted in his directorial debut of the full-length documentary, What Happened in Vegas, with its first screening at the 2017 Cinequest Film Festival.\n\nLos Angeles Times reviewer Michael Rechtshaffen wrote that What Happened in Vegas \"blows the whistle on a disturbing pattern of excessive force and corruption within its ranks.\" The Village Voice opined that issues Denison uncovers within the police department \"serve as a warning to all Americans.\" Daphne Howland in LA Weekly''' noted that \"What Happened in Vegas is more than a revenge project. He unveils a pattern of police malfeasance, including coverups and lies, through disturbing stories of unjustified deaths. It’s a damning takedown of the city’s powers that be.\"\n\nThe film also screened at the FreedomFest conference at the Paris Las Vegas hotel-casino in July 2017 where it won the Grand Jury Prize and went to #1 on iTunes documentary chart in June 2018.\n\nDenison and another filmmaker, Charlie Minn, each accused the Eclipse Theater in Las Vegas of failing to screen their movies because their films are critical of the Las Vegas Metropolitan Police Department.What Happened in Vegas prompted Denison's probe into the 2017 mass shooting at the Mandalay Bay Resort in Las Vegas, where 59 people were killed, for a second documentary. It is titled Money Machine, with screenings at American Documentary and Animation Film Festival in March 2020 and Cleveland International Film Festival.\n\n Awards \nIn 2017, Denison received the best documentary award at the 2017 Las Vegas Black Film Festival for What Happened in Vegas'' and the Grand Jury Prize at Freedom Fest in 2017.\n\nReferences\n\nExternal links \n Filmmaker's official website\n \n \n\nLiving people\nAmerican documentary film directors\nAmerican film editors\nFilmmakers from Florida\nFilmmakers from California\nFilmmakers from Washington (state)\nEastern Washington University alumni\nYear of birth missing (living people)" ]
[ "Gorillaz", "Creation and early years (1990-99)", "what happened in the early years?", "and the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides." ]
C_fb5dadfb60c6438eb0f8405024d25b1c_1
Are there any other interesting aspects about this article?
2
Besides recording Ghost Train,Are there any other interesting aspects about this article?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997.
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
true
[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Gorillaz", "Creation and early years (1990-99)", "what happened in the early years?", "and the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "Are there any other interesting aspects about this article?", "Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997." ]
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were they together?
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were Albarn and Hewlett together?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica.
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
true
[ "Eleanor Helene Emma Gutöhrlein (18 August 1909 – 7 June 1997) and Karola (Karla) Elisabet Charlotta Gutöhrlein (born 9 September 1910) were German-born sisters who danced and acted together in several 1930s films. They were sometimes billed as \"The Sisters G\".\n\nThe sisters were born in Germany as Eleanor and Karla Knospe. Eleanor and Karla differed more than a year in age, but were often thought to be twins. They were famous for performing together, for having bobbed haircuts, and for their dancing and acting skills. They performed in several American films including King of Jazz (1930), Recaptured Love (1930), and God's Gift to Women (1931).\n\nThe sisters moved to Sweden. Eleanor married the bank director Gösta Lennart Brynolf and died on 7 June 1997 in Vasa, Sweden. Karla married Per Oskar Olof Åberg in 1936. They had a daughter together on 18 April 1940 in Gothenburg, Sweden named Viveka Margareta Svea Persdotter Åberg. Karla later remarried on 8 August 1946 in Adolf Fredrik Church to Karl Martin Lennart Lindsberg.\n\nReferences\n\n20th-century German actresses\nGerman film actresses\nGerman female dancers\nPlace of birth missing", "Ihor Khmara (; born 18 March 1990) is a Ukrainian male rower. He represented Ukraine together with Stanislav Kovalov at the 2020 Summer Olympics in the lightweight double sculls competition where they finished 9th.\n\nCareer\nHis best performances at the European Championships were in 2012, 2018, 2020 and 2021 when he finished 6th in lightweight double sculls events.\n\nKhmara competes together with Stanislav Kovalov in lightweight double sculls competitions. They won two silver medals at the Summer Universiades in 2013 and 2015 (that year Khmara also won another silver in men's eight). At the 2017 World Championships in Sarasota they were 9th. At the 2018 World Championships in Plovdiv, they finished 10th. At the 2019 World Championships in Ottensheim, they were 20th. \n\nKhmara also took part in lightweight quadruple sculls competitions. At the 2016 World Championships in Rotterdam, he together with Roman Fedorenko, Serhii Siabro, and Stanislav Kovalov missed medal after finishing 4th behind crews from Germany, France, and Greece.\n\nKhmara managed to qualify together with Stanislav Kovalov for 2020 Summer Olympics after winning European Qualification Regatta in April 2021 in Varese, Italy. They became the first Ukrainian crew to represent Ukraine in this type of boat. In the lightweight double sculls competition they were 4th out of 6 boat in the heat 2 and 1st out of 6 boats in the repechage heat 1. In the semifinal A/B 2 they finished 4th just 1.5 seconds behind the third boat which was the last one to qualify for final. In final B they finished 3rd, thus ranking 9th at the 2020 Summer Olympics.\n\nPersonal life\nKhmara is married. His hobbies include fishing and cooking.\n\nReferences\n\nExternal links\n \n \n\n1990 births\nLiving people\nUkrainian male rowers\nSportspeople from Kyiv\nRowers at the 2020 Summer Olympics\nOlympic rowers of Ukraine\nUniversiade silver medalists for Ukraine\nUniversiade medalists in rowing\nMedalists at the 2013 Summer Universiade\nMedalists at the 2015 Summer Universiade" ]
[ "Gorillaz", "Creation and early years (1990-99)", "what happened in the early years?", "and the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "Are there any other interesting aspects about this article?", "Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997.", "were they together?", "Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica." ]
C_fb5dadfb60c6438eb0f8405024d25b1c_1
what happened afterward?
4
what happened after the breakup with Oliver and Albarn?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides.
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
false
[ "What Happened to Jones may refer to:\n What Happened to Jones (1897 play), a play by George Broadhurst\n What Happened to Jones (1915 film), a lost silent film\n What Happened to Jones (1920 film), a lost silent film\n What Happened to Jones (1926 film), a silent film comedy", "What Happened may refer to:\n\n What Happened (Clinton book), 2017 book by Hillary Clinton\n What Happened (McClellan book), 2008 autobiography by Scott McClellan\n \"What Happened\", a song by Sublime from the album 40oz. to Freedom\n \"What Happened\", an episode of One Day at a Time (2017 TV series)\n\nSee also\nWhat's Happening (disambiguation)" ]
[ "Gorillaz", "Creation and early years (1990-99)", "what happened in the early years?", "and the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "Are there any other interesting aspects about this article?", "Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997.", "were they together?", "Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica.", "what happened afterward?", "the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides." ]
C_fb5dadfb60c6438eb0f8405024d25b1c_1
what was the top hit?
5
what was the top hit from Rock the house?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
Rock the House
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
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[ "\"What's Up Doc? (Can We Rock)\" is the lead single from the Fu-Schnickens second studio album, Nervous Breakdown. The song featured NBA star Shaquille O'Neal and was produced by Main Source member K-Cut. The song was a top-40 hit in 1993 and was certified gold by the RIAA for sales of 500,000 copies.\n\nBackground\nReleased in the summer of 1993, \"What's Up Doc? (Can We Rock)\" became a top 40 hit, peaking at No. 39 on the Billboard Hot 100. The song had previously been simply titled \"What's Up Doc?\" and featured a sample of Bugs Bunny saying the title, but because the group could not get sample clearance from Warner Bros., this version was not released. Meanwhile, NBA player Shaquille O'Neal had become a media sensation in his first season. In many interviews, he talked about his love of hip hop music and stated that Fu-Schnickens were his favorite group. This prompted the group to contact O'Neal for a collaboration. O'Neal recorded a verse that was added to the song, along with the spoken line \"What's up, doc?\" to replace the Bugs Bunny sample. Although the group had not yet completed recording their album Nervous Breakdown, the song was quickly released as a single to capitalize on O'Neal's popularity. The single was a Top 40 hit in the summer of 1993, briefly propelling the group into the mainstream. The song first appeared on an album recorded by O'Neal, Shaq Diesel. Nervous Breakdown was finally released in October 1994, over a year after the single's release. The music video was filmed underneath the Manhattan Bridge, on the Manhattan side.\n\nSingle track listing\n\"What's up Doc? (Can We Rock)\" (LP Version)- 3:57\n\"What's up Doc? (Can We Rock)\" (K-Cut's Mad Master Remix)- 4:04\n\"What's up Doc? (Can We Rock)\" (K-Cut's Fat Trac Remix)- 3:59\n\"True Fuschnick\" (Phase 5 Euro-Dub Remix)- 4:19\n\"Heavenly Father\" (Tempted 2 Touch Murder Mix)- 5:10\n\"What's Up Doc? (Can We Rock)\"- 3:56\n\nCharts\n\nCertifications\n\nReferences\n\n1993 singles\nFu-Schnickens songs\nShaquille O'Neal songs\n1993 songs\nSongs written by Shaquille O'Neal\nJive Records singles", "\"What Am I Crying For\" is a song by American band Dennis Yost and The Classics IV. It was released as a single in 1972 from the album of the same title.\n\nThe song was the band's final Top 40 hit on the Billboard Hot 100, peaking at No. 39. It was also their second and final Top 10 hit on the Adult Contemporary chart, peaking at No. 7.\n\nChart performance\n\nReferences\n\n1972 singles\n1972 songs\nClassics IV songs\nMGM Records singles\nSongs written by Buddy Buie\nSongs written by J. R. Cobb\nSongs about crying" ]
[ "Gorillaz", "Creation and early years (1990-99)", "what happened in the early years?", "and the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "Are there any other interesting aspects about this article?", "Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997.", "were they together?", "Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica.", "what happened afterward?", "the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "what was the top hit?", "Rock the House" ]
C_fb5dadfb60c6438eb0f8405024d25b1c_1
did it win any awards?
6
did Rock the House win any awards?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
CANNOTANSWER
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
false
[ "Le Cousin is a 1997 French film directed by Alain Corneau.\n\nPlot \nThe film deals with the relationship of the police and an informant in the drug scene.\n\nAwards and nominations\nLe Cousin was nominated for 5 César Awards but did not win in any category.\n\nReferences\n\nExternal links\n\n1997 films\n1997 crime films\nFilms about drugs\nFilms directed by Alain Corneau\nFrench crime films\nFrench films\nFrench-language films", "The 23rd Fangoria Chainsaw Awards is an award ceremony presented for horror films that were released in 2020. The nominees were announced on January 20, 2021. The film The Invisible Man won five of its five nominations, including Best Wide Release, as well as the write-in poll of Best Kill. Color Out Of Space and Possessor each took two awards. His House did not win any of its seven nominations. The ceremony was exclusively livestreamed for the first time on the SHUDDER horror streaming service.\n\nWinners and nominees\n\nReferences\n\nFangoria Chainsaw Awards" ]
[ "Gorillaz", "Creation and early years (1990-99)", "what happened in the early years?", "and the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "Are there any other interesting aspects about this article?", "Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997.", "were they together?", "Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica.", "what happened afterward?", "the first song they recorded was \"Ghost Train\" which was later released as a B-side on their single \"Rock the House\" and the B-side compilation G Sides.", "what was the top hit?", "Rock the House", "did it win any awards?", "I don't know." ]
C_fb5dadfb60c6438eb0f8405024d25b1c_1
any other interesting information in the article, to you?
7
Besides Rock the House being a top hit,any other interesting information in the article, to you?
Gorillaz
Musician Damon Albarn and comic book artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, a band Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker"; despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell - there's nothing of substance there. So we got this idea for a cartoon band, something that would be a comment on that." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train" which was later released as a B-side on their single "Rock the House" and the B-side compilation G Sides. The musicians behind Gorillaz' first incarnation included Albarn, Del the Funky Homosapien, Dan the Automator and Kid Koala, who had previously worked together on the track "Time Keeps on Slipping" for Deltron 3030's eponymous debut album. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. CANNOTANSWER
one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own",
Gorillaz are an English virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett, from London, England. The band primarily consists of four animated members: 2-D (vocals, keyboards), Murdoc Niccals (bass guitar), Noodle (guitar, keyboards, vocals), and Russel Hobbs (drums). Their fictional universe is presented in music videos, interviews and short cartoons. Gorillaz' music often features collaborations with a wide range of featured artists, with Albarn as the only permanent musical contributor. With Gorillaz, Albarn departed from the distinct Britpop of his band Blur, exploring a variety of musical styles including hip hop, electronic music and world music through an "eccentrically postmodern" approach. The band's 2001 debut album Gorillaz, which featured dub, Latin and punk influences, went triple platinum in the UK and double platinum in Europe, with sales driven by the success of the album's lead single "Clint Eastwood". Their second studio album, Demon Days (2005), went six times platinum in the UK and double platinum in the US and spawned the successful lead single "Feel Good Inc.". The band's third album, Plastic Beach (2010), featured environmentalist themes, a synth-pop approach and an expanded roster of featured artists. Their fourth album, The Fall (2010), was recorded on the road during the Escape to Plastic Beach Tour and released on 25 December 2010. During 2015, Remi Kabaka Jr. became a music producer for the band after more than 10 years providing the voice of Russel and was credited as such alongside Albarn and Hewlett in the official 2019 documentary Gorillaz: Reject False Icons. The band's fifth album, Humanz, was released after a seven-year hiatus on 28 April 2017. Their sixth album, The Now Now (2018), featured stripped-down production and a greater musical focus on Albarn. Gorillaz' latest project is Song Machine, a music-based web series with episodes that consist of standalone singles and accompanying music videos featuring different guests each episode, resulting in their seventh album, Song Machine, Season One: Strange Timez (2020). Gorillaz has presented itself live in a variety of different ways throughout the band's history, such as hiding the touring band from the audience's view in the early years of the project, projecting animated band members on stage via computer graphics and traditional live touring featuring a fully visible live band. The band have sold over 25 million records worldwide and are cited by Guinness World Records as the world's "Most Successful Virtual Band". They have won a Grammy Award, two MTV Video Music Awards, an NME Award and three MTV Europe Music Awards. They have also been nominated for 11 Brit Awards and won Best British Group at the 2018 Brit Awards. History Creation (1990–1999) Musician Damon Albarn and comic artist Jamie Hewlett met in 1990 when guitarist Graham Coxon, a fan of Hewlett's work, asked him to interview Blur, which Albarn and Coxon had recently formed. The interview was published in Deadline magazine, home of Hewlett's comic strip Tank Girl. Hewlett initially thought Albarn was "arsey, a wanker;" and despite becoming acquaintances with the band, they often did not get on, especially after Hewlett began seeing Coxon's ex-girlfriend Jane Olliver. Despite this, Albarn and Hewlett started sharing a flat on Westbourne Grove in London in 1997. Hewlett had recently broken up with Olliver and Albarn was at the end of his highly publicised relationship with Justine Frischmann of Elastica. The idea to create Gorillaz came about when Albarn and Hewlett were watching MTV. Hewlett said, "If you watch MTV for too long, it's a bit like hell – there's nothing of substance there. So we got this idea for a virtual band, something that would be a comment on that." Albarn recalled the idea similarly, saying "This was the beginning of the sort of boy band explosion... and it just felt so manufactured. And we were like, well let's make a manufactured band but make it kind of interesting." The band originally identified themselves as "Gorilla" and the first song they recorded was "Ghost Train", which was later released as a B-side on their single "Rock the House". The band's visual style is thought to have evolved from The 16s, a rejected comic strip Hewlett conceived with Tank Girl co-creator Alan Martin. Although not released under the Gorillaz name, Albarn has said that "one of the first ever Gorillaz tunes" was Blur's 1997 single "On Your Own", which was released for their fifth studio album Blur. Gorillaz (2000–03) From 1998 to 2000, Albarn recorded for Gorillaz' self-titled debut album at his newly opened Studio 13 in London as well as at Geejam Studios in Jamaica. The sessions resulted in the band's first release, the EP Tomorrow Comes Today, released on 27 November 2000. This EP consisted mostly of tracks which later appeared on the album, and it also included the band's first music video for "Tomorrow Comes Today", which introduced the virtual band members for the first time. With Gorillaz, Albarn began to branch out into other genres which he had not explored with Blur, such as hip-hop, dub and Latin music, a process he described as liberating: "One of the reasons I began Gorillaz is I had a lot of rhythms I never thought I could use with Blur. A lot of that stuff never really seemed to manifest itself in the music we made together as Blur." Albarn originally began work on the album by himself, however eventually invited American hip-hop producer Dan "the Automator" Nakamura to serve as producer on the album, explaining "I called Dan the Automator in after I'd done more than half of it and felt it would benefit from having somebody else's focus. So I just rang him and asked whether he was interested in helping me finish it off." Nakamura and Albarn had recently collaborated on Deltron 3030, the debut album by the hip-hop supergroup of the same name featuring rapper Del the Funky Homosapien and DJ Kid Koala, both of whom Nakamura recruited to assist in finishing Gorillaz material. Del featured on two tracks on the album, including the lead single "Clint Eastwood", while Kid Koala contributed turntables to various tracks. The album featured additional collaborations with Ibrahim Ferrer of Buena Vista Social Club, Miho Hatori of Cibo Matto and Tina Weymouth of Talking Heads and Tom Tom Club, representing a pattern of collaboration with a wide range of artists which later became a staple of Gorillaz as a project. Gorillaz was released on 26 March 2001 and was a major commercial success, debuting at #3 on the UK Albums Chart and #14 on the US Billboard 200, going on to sell over 7 million copies worldwide, powered by the success of the "Clint Eastwood" single. The album was promoted with the singles "Clint Eastwood", "19-2000" and "Rock the House", in addition to the previously released "Tomorrow Comes Today", with each single featuring a music video directed by Hewlett starring the virtual members. Hewlett also helmed the design of the band's website, which was presented as an interactive tour of the band's fictional "Kong Studios" home and recording studio, featuring interactive games and explorative elements. Following the release of the album, the band embarked on a brief tour of Europe, Japan and the United States to support the album in which a touring band featuring Albarn played completely obscured behind a giant screen on which Hewlett's accompanying visuals were projected. The virtual band member's voice actors were also present at some shows and spoke live to the audience to give the impression that the fictional band was present on stage. In later interviews, Albarn described the band's first tour as difficult due to the limitations imposed by the band playing behind a screen: "For someone who had just spent the last ten years out front being a frontman [with Blur], it was a really weird experience. And I have to say, some nights I just wanted to get a knife and just cut [the screen] and stick my head through." The album was followed by the B-sides compilation G-Sides released in December 2001. On 7 December 2001, the band released the single "911" a collaboration with hip hop group D12 (without Eminem) and singer Terry Hall of the Specials about the September 11 attacks. At the 2002 Brit Awards the virtual members of Gorillaz "performed" for the first time, appearing in 3D animation on four large screens along with rap accompaniment by Phi Life Cypher, a production which reportedly cost £300,000 to create. The band were nominated for four Brit Awards, including Best British Group, Best British Album and British Breakthrough Act, but did not win any awards. On 1 July 2002, a remix album titled Laika Come Home was released, containing most of the tracks from Gorillaz remixed in dub and reggae style by the DJ group Spacemonkeyz. On 18 November 2002, the band released the DVD Phase One: Celebrity Take Down, which contained all of the band's released visual content up to that point along with other extras. After the success of the debut album, Albarn and Hewlett briefly explored the possibility of creating a Gorillaz theatrical film, but Hewlett claimed the duo later lost interest: "We lost all interest in doing it as soon as we started meeting with studios and talking to these Hollywood executive types, we just weren't on the same page. We said, fuck it, we'll sit on the idea until we can do it ourselves, and maybe even raise the money ourselves." Demon Days (2004–07) Albarn spent the majority of 2003 on tour with Blur in support of their newly released album Think Tank; however, upon completion of the tour, he decided to return to Gorillaz, reuniting with Hewlett to prepare for a second album. Hewlett explained that the duo chose to continue Gorillaz to prove that the project was not "a gimmick": "If you do it again, it's no longer a gimmick, and if it works then we've proved a point." The result was Demon Days, released on 11 May 2005. The album was another major commercial success, debuting at No. 1 on the UK Albums Charts and #6 on the US Billboard 200, and has since gone six times platinum in the UK, double platinum in the United States, and triple platinum in Australia, outperforming sales of the first album and becoming the band's most successful album to date. The album's success was partially driven by the success of the lead single "Feel Good Inc." featuring hip-hop group De La Soul, which topped Billboard'''s Alternative Songs chart in the U.S. for eight consecutive weeks and was featured in a commercial for Apple's iPod. The album was also supported by the later singles "Dare", "Dirty Harry", and the double A-side "Kids with Guns" / "El Mañana".Demon Days found the band taking a darker tone, partially influenced by a train journey Albarn had taken with his family through impoverished rural China. Albarn described the album as a concept album: "The whole album kind of tells the story of the night — staying up during the night — but it's also an allegory. It's what we're living in basically, the world in a state of night." Believing that the album needed "a slightly different approach" compared to the first album, Albarn enlisted American producer Brian Burton, better known by his stage name Danger Mouse, to produce the album, whom Albarn praised as "one of the best young producers in the world" after hearing his 2004 mashup album The Grey Album. Burton felt he and Albarn had a high degree of affinity with each other, stating in an interview on the creation of the album: "We never had any arguments. We even have that finish-each-other's-sentences thing happening. There are a lot of the same influences between us, like Ennio Morricone and psychedelic pop-rock, but he has 10 years on me, so I have some catching up to do. Where he can school me on new wave and punk of the late ’70s/early ’80s, I can school him on a lot of hip-hop. We’re very competitive and pushed each other." Similar to the first album, Demon Days features collaborations with several different artists, including Bootie Brown, Shaun Ryder, Ike Turner, MF Doom (who was recording with Danger Mouse as Danger Doom at the time) and Martina Topley-Bird, among others. The band chose to forgo traditional live touring in support of Demon Days, instead limiting live performance during the album cycle to a five night residency in November 2005 at the Manchester Opera House billed as Demon Days Live. The concerts saw the band performing the album in full each night with most featured artists from the album present. Unlike the debut album's tour, the touring band was visible on stage in view of the audience but obscured by lighting in such a way that only their silhouettes were visible, with a screen above the band displaying Hewlett's visuals alongside each song. The residency was later repeated in April 2006 at New York City's Apollo Theater and the Manchester performances were later released on DVD as Demon Days: Live at the Manchester Opera House. The virtual Gorillaz members "performed" at the 2005 MTV Europe Music Awards in November 2005 and again at the 48th Annual Grammy Awards in February 2006, appearing to perform on stage via Musion Eyeliner technology. Albarn later expressed disappointment at the execution of the performance, citing the low volume level required so as to not disturb the technology: "That was tough... They started and it was so quiet cause they've got this piece of film that you've got to pull over the stage so any bass frequencies would just mess up the illusion completely." At the Grammys, the band won Best Pop Collaboration with Vocals for "Feel Good Inc.", which was also nominated for Record of the Year. Albarn and Hewlett explored the idea of producing a full "live holographic tour" featuring the virtual Gorillaz appearing on stage with Munsion Eyeliner technology after the Grammys performance, but the tour was ultimately never realised due to the tremendous expense and logistical issues that would have resulted. In October 2006, the band released the book Rise of the Ogre. Presented as an autobiography of the band ostensibly written by the fictional members and expanding on the band's fictional backstory and universe, the book was actually written by official Gorillaz script writer and live drummer Cass Browne and featured new artwork by Hewlett. Later the same month, the band released another DVD, Phase Two: Slowboat to Hades, compiling much of the band's visual content from the album cycle. A second B-sides compilation, D-Sides was released in November 2007, featuring B-sides and remixes associated with Demon Days as well as unreleased tracks from the sessions for the album. In April 2009, the documentary film Bananaz was released. Directed by Ceri Levy, the film documents the behind-the-scenes history of the band from 2000 to 2006. Plastic Beach and The Fall (2008–13) Albarn and Hewlett's next project together was the opera Monkey: Journey to the West based on the classical Chinese novel Journey to the West, which premiered at the 2007 Manchester International Festival. While not officially a Gorillaz project, Albarn mentioned in an interview that the project was "Gorillaz, really but we can't call it that for legal reasons". After completing work on Monkey in late 2007, Albarn and Hewlett began working on a new Gorillaz project entitled Carousel, described by Albarn as being about "the mystical aspects of Britain". Hewlett described Carousel in a 2008 interview as "even bigger and more difficult than Monkey... It's sort of like a film but not with one narrative story. There's many stories, told around a bigger story, set to music, and done in live action, animation, all different styles. Originally it was a film but now we think it's a film and it's a stage thing as well. Damon's written around 70 songs for it, and I’ve got great plans for the visuals." The Carousel concept was eventually dropped with Albarn and Hewlett's work evolving into the third Gorillaz studio album Plastic Beach. Drawing upon environmentalist themes, Plastic Beach was inspired by the idea of a "secret floating island deep in the South Pacific... made up of the detritus, debris and washed up remnants of humanity" inspired by marine pollution such as plastic that Albarn had found in a beach near one of his homes in Devon as well as the Great Pacific garbage patch. Unlike previous Gorillaz albums, Albarn made the decision to produce Plastic Beach by himself, with no co-producer. The album was recorded throughout 2008 and 2009 in London, New York City and Syria although production of the album was briefly interrupted so that Albarn could join Blur for a reunion tour in the summer of 2009, with Albarn explaining "there's no way you can do that and that [Blur and Gorillaz] at the same time." Plastic Beach saw Gorillaz move into a more electronic pop sound, with Albarn describing the album as "the most pop record I've ever made" and saying that he took special care to make the album's lyrics and melodies clear and focused compared to previous albums. Plastic Beach also featured the largest cast of collaborators featured yet on a Gorillaz album, fulfilling Albarn's goal of "work[ing] with an incredibly eclectic, surprising cast of people" including artists such as Snoop Dogg, Mos Def, Bobby Womack, Little Dragon, Lou Reed and Gruff Rhys among others, and also included orchestral contributions from Sinfonia Viva and the Lebanese National Symphony Orchestra. Albarn explained the expanded roster of featured artists represented his and Hewlett's new vision of Gorillaz as a project, explaining in a July 2008 interview that "Gorillaz now to us is not like four animated characters any more – it's more like an organisation of people doing new projects... That's my ideal model." Released on 3 March 2010, Plastic Beach debuted at #2 on both the UK Albums Chart and the US Billboard 200 chart, the band's highest placing debut chart position. The album was supported by the lead single "Stylo" featuring Mos Def and Bobby Womack released in January 2010 and the later singles "On Melancholy Hill" and "Rhinestone Eyes". To promote the album, the band embarked on the Escape to Plastic Beach Tour, the band's first world tour and also their first live performances in which the touring band performed fully in view of the audience on stage with no visual obstructions. The tour, which featured many of the collaborative artists from Plastic Beach and saw the touring band wearing naval attire, was later described by Albarn as having been extremely costly to produce, with the band barely breaking even on the shows, saying "I loved doing it, but economically it was a fucking disaster." The tour was preceded by headline performances at several international music festivals, including the Coachella and Glastonbury festivals. On 21 November 2010, while still on tour, the band released the non-album single "Doncamatic" featuring British singer Daley. During the North American leg of the Escape to Plastic Beach tour in the fall of 2010, Albarn continued recording Gorillaz songs entirely on his iPad. The recordings were later released as the album The Fall, first released digitally on Christmas Day 2010 and later given a physical release on 19 April 2011. The Fall is also co-produced by Stephen Sedgwick, the mixer engineer of the band. Albarn said the album served as a diary of the American leg of the tour, explaining that the tracks were presented exactly as they were on the day they were written and recorded with no additional production or overdubs: "I literally made it on the road. I didn't write it before, I didn't prepare it. I just did it day by day as a kind of diary of my experience in America. If I left it until the New Year to release it then the cynics out there would say, 'Oh well, it's been tampered with', but if I put it out now they'd know that I haven't done anything because I've been on tour ever since." The band later released a "Gorillaz edition" of the Korg iElectribe music production app for iPad, featuring many of the same samples and sounds used by Albarn to create The Fall. On 23 February 2012, Gorillaz released "DoYaThing", a single to promote a Gorillaz-branded collection of Converse shoes which were released shortly after. The song was a part of Converse's "Three Artists, One Song" project, with the two additional collaborators being James Murphy of LCD Soundsystem and André 3000 of Outkast. Two different edits of the song were released: a four-and-a-half minute radio edit released on Converse's website and the full 13-minute version of the song released on the Gorillaz website. Hewlett returned to direct the single's music video, featuring fictionalized animated versions of Murphy and André interacting with the Gorillaz' virtual members. The song received positive reviews from critics, with particular praise given to André 3000's contributions to the track. In April 2012, Albarn told The Guardian that he and Hewlett had fallen out and that future Gorillaz projects were "unlikely". Tension between the two had been building, partly due to a belief held by Hewlett that his contributions to Gorillaz were being minimised. Speaking to The Guardian in April 2017, Hewlett explained: "Damon had half the Clash on stage, and Bobby Womack and Mos Def and De La Soul, and fucking Hypnotic Brass Ensemble and Bashy and everyone else. It was the greatest band ever. And the screen on stage behind them seemed to get smaller every day. I'd say, ‘Have we got a new screen?’ and the tour manager was like, ‘No, it's the same screen.’ Because it seemed to me like it was getting smaller." Albarn gave his side of the story in a separate interview, saying "I think we were at a cross purposes somewhat on that last record [Plastic Beach], which is a shame. It was one of those things, the music and the videos weren't working as well together, but I felt we'd made a really good record and I was into it." On 25 April 2012, in an interview with Metro, Albarn was more optimistic about Gorillaz' future, saying that once he had worked out his differences with Hewlett, he was sure that they would make another record. In June 2013, Hewlett confirmed that he and Albarn planned to someday continue Gorillaz and record a follow-up album to Plastic Beach, saying "We'll come back to it when the time is right." Hiatus and Humanz (2014–17) Following the release of DoYaThing and the publicization of Albarn and Hewlett's fall-out in 2012, Gorillaz entered a multiyear hiatus. During the hiatus, Albarn released a solo album, Everyday Robots, scored stage productions and continued to record and tour with Blur, while Hewlett held art exhibitions and attempted to create a film project which was ultimately never realized. While on tour in support of Everyday Robots in 2014, Albarn signaled openness to returning to Gorillaz, telling The National Post that he "wouldn't mind having another stab at a Gorillaz record". Two months later he reported that he had "been writing quite a lot of songs on the road for Gorillaz". and at the end of 2014 confirmed in an interview with The Sydney Morning Herald that he was planning to record another Gorillaz album. Speaking about his relationship with Hewlett, Albarn said that the pair's well-publicised fall-out had helped their relationship in the long term. Hewlett described the moment when he and Albarn agreed to continue Gorillaz at an afterparty after one of Albarn's solo shows in 2014: "We'd had a bit to drink, and he said, 'Do you want to do another one?' And I said, 'Do you?' and he said, 'Do you?' And I said, 'Yeah, sure.' I started work on it straight away, learning to draw the characters again. I played around by myself for eight months while he was performing with Blur in 2015." Recording sessions for the band's fifth studio album Humanz began in late 2015 and continued through 2016, taking place in London, New York City, Paris and Jamaica. Albarn enlisted American hip-hop and house producer Anthony Khan, known by his stage name the Twilite Tone, to co-produce the album. Albarn chose Khan from a list of possible producers compiled by Parlophone, the band's record label after Albarn and Khan spoke via Skype. Humanz was also co-produced by Remi Kabaka Jr., a friend of Albarn's who had worked with him in the non-profit musical organization Africa Express and also has been the voice actor for the Gorillaz virtual band member Russel Hobbs since 2000. In conceptualizing the album, Albarn and Khan envisioned Humanz as being the soundtrack for "a party for the end of the world", with Albarn specifically imagining a future in which Donald Trump won the 2016 U.S. presidential election as context for the album's narrative (Trump becoming president was still considered an unlikely event at the time of recording), explaining "Let's use that as a kind of dark fantasy for this record, let's imagine the night Donald Trump wins the election and how we're all going to feel that night." Khan stated that "The idea of Donald Trump being president allowed us to create a narrative together. I suggested that the album should be about joy, pain and urgency. That was to be our state of mind before we even touched a keyboard or an MPC. Especially in American music, dare I say black music, there's a way of communicating joy that at the same time allows you to feel the struggle the person has been through. And the urgency is there because something needs to be done. So that was the mantra. I wanted to blend Damon, a Briton, with the joy and pain and struggle that African-American music can express." Humanz again featured a large cast of featured artists, including Popcaan, Vince Staples, DRAM, Jehnny Beth, Pusha T, Peven Everett, Danny Brown, Grace Jones and Mavis Staples, among others. The first track from the album released publicly was "Hallelujah Money" featuring Benjamin Clementine, released on 20 January 2017 with an accompanying video featuring Clementine. While not an official single, Albarn explained that the band chose to release the track on the day of Trump's inauguration because "It was meant to be something sung at the imaginary inauguration of Donald Trump, which turned out to be the real inauguration of Donald Trump, so we released it because we had imagined that happening and it did happen."Humanz was released on 28 April 2017, the band's first new studio album in 7 years. Featuring a "modern-sounding urban hip-hop/R&B sensibility", the album debuted at #2 on both the UK Album charts and the US Billboard 200. Humanz received generally positive reviews from critics, although received some criticism from fans and critics for what was perceived as a diminished presence from Albarn in contrast to the abundance of featured artists. The album was released in both standard and deluxe editions, with the deluxe edition featuring an additional 6 bonus tracks and was promoted by the lead single "Saturnz Barz" featuring Popcaan and the later single "Strobelite" featuring Peven Everett. The Hewlett-directed music video for "Saturnz Barz" made use of YouTube's 360-degree video format and reportedly cost $800,000 to create. The band embarked on the Humanz Tour to support the album from the summer of 2017 to early 2018. Like the band's previous tour, the Humanz Tour featured the touring band in full view of the audience with a large screen behind them displaying Hewlett-created visuals and featured several of the different collaborative artists from the band's history. The tour was preceded by a handful of European warm-up shows, including the first Demon Dayz Festival held on 10 June 2017 at the Dreamland Margate theme park, a Gorillaz curated music festival which was later repeated in Los Angeles in October 2018. On 8 June 2017 the band released the non-album single "Sleeping Powder" with an accompanying music video and on 3 November 2017 a "Super Deluxe" version of Humanz, featuring an additional 14 unreleased tracks from the album's sessions, including alternative versions of previously released songs as well as the single "Garage Palace" featuring Little Simz. The Now Now (2018–19) Albarn continued recording while on the road during the Humanz Tour, and mentioned in an interview with Q Magazine in September 2017 that he was planning on releasing the material as a future Gorillaz album. Comparing the production of the album to The Fall, which was also recorded while the band was on tour, Albarn mentioned that "It will be a more complete record than The Fall, but hopefully have that spontaneity." Albarn signaled his desire to complete and release the album quickly, adding that "I really like the idea of making new music and playing it live almost simultaneously" and "If we're going to do more Gorillaz we don't want to wait seven years because, y'know, we're getting on a bit now. The band later debuted a new song "Idaho", which was later included on the album, at a concert in Seattle on 30 September 2017 with Albarn saying it had been written in the days prior. During a break in the Humanz Tour in February 2018, Albarn returned to London where he worked with producer James Ford, known for his work with Arctic Monkeys and Florence and the Machine, and Kabaka Jr. to finish the newly written material, resulting in the band's sixth studio album The Now Now released on 29 June 2018. Featuring "simple, mostly upbeat songs" and 1980s new wave influences, the album was noted for its distinctly small list of featured artists compared to previous Gorillaz work, with only two tracks featuring any outside artists (the album's lead single "Humility" featuring George Benson and "Hollywood" featuring Snoop Dogg and Jamie Principle). Albarn mentioned that the few numbers of featured artists was partially due to the album's quick production, which in turn was a result of Albarn wanting to finish the album before the band's touring schedule resumed: "We've been very lucky to be offered all the festivals this year on the back of the last record [Humanz]... but I didn't want to do that unless I had something new to work with, so the only option was to make another record really quickly and not have lots of guests on it, because that takes a long time to organize; just do it all myself, really." Albarn also explained that with The Now Now he sought to make a Gorillaz album "where I'm just singing for once" and that the album is "pretty much just me singing, very sort of in the world of 2-D." In the fictional Gorillaz storyline, the band introduced Ace from Cartoon Network's animated series The Powerpuff Girls as a temporary bassist of the band during The Now Now album cycle, filling in for the imprisoned Murdoc Niccals. Explaining the crossover in an interview with the BBC, Albarn said "We were massive fans of The Powerpuff Girls when they came out, the energy of that cartoon was really cool, and we kind of know the creator of it (Craig McCracken). It was a very organic thing." The band's remaining 2018 live dates were billed as The Now Now Tour to support the album, and included a performance in Tokyo on 22 June 2018 billed as "The Now Now World Premiere" in which the band played the full album live for the first and only time, a performance which was later broadcast by Boiler Room. On 16 December 2019, the documentary Gorillaz: Reject False Icons was screened worldwide on a one-day theatrical release. Filmed and directed by Hewlett's son Denholm, the documentary showcases a behind-the-scenes look at the production of Humanz and The Now Now as well as the album's associated tours. One week after the film's theatrical release, a "Director's Cut" version of the film featuring additional footage was released on the official Gorillaz YouTube channel in three parts. In the credits for Reject False Icons, Kabaka Jr. was listed as an official member of the band (labeled as "A&R/Producer") alongside Albarn and Hewlett for the first time. Song Machine project and Meanwhile EP (2020–present) On 29 January 2020, the band announced its new project, Song Machine. Eschewing the typical album format of releasing music, Song Machine is instead a web series that sees the band releasing one new song a month as "episodes" to the series, with 11 episodes releasing to comprise the first "season". Elaborating on the idea behind Song Machine in a radio interview shortly after the announcement of the project, Albarn explained that "We no longer kind of see ourselves as constrained to making albums. We can now make episodes and seasons." Each episode features previously unannounced guest musicians on new Gorillaz material, with the first being "Momentary Bliss", which was released on 31 January and features both British rapper Slowthai and the Kent-based punk rock duo Slaves. Upon the premiere of "Momentary Bliss", Albarn revealed that the group had been in the studio with Schoolboy Q and Sampa the Great among others, although he did say that these songs were likely to be saved for future episodes of Song Machine. The group also teased a possible collaboration with Australian band Tame Impala on Instagram. On 27 February, the band released the second episode of Song Machine entitled "Désolé". The song features Malian singer Fatoumata Diawara. The third episode, "Aries", released on 9 April and featured Peter Hook and Georgia. The fourth track "How Far?" featuring Tony Allen and Skepta was released 2 May. This song was released without an accompanying music video as a tribute to Allen, who died on 30 April. On 26 May, Gorillaz announced the release of a new book titled Gorillaz Almanac. The book comes in three editions: standard, deluxe and super deluxe, all of which are set to release on 23 October but has since been delayed to 22 December with a physical release of season one of Song Machine included with each copy. On 9 June, the band released "Friday 13th", the fourth episode of Song Machine. The track features French-British rapper Octavian. On 20 July, the band released "Pac-Man", the fifth episode of Song Machine, in honour of Pac-Man's 40th anniversary. The track features American rapper Schoolboy Q. On 9 September, the band released "Strange Timez", the sixth episode of Song Machine. The track features Robert Smith, from the Cure. Gorillaz also announced the title and tracklist for Song Machine, Season One: Strange Timez, released on 23 October 2020, featuring further guest appearances from Elton John, 6lack, JPEGMafia, Kano, Roxani Arias, Moonchild Sanelly and Chai, among others. On 1 October, the band released "The Pink Phantom", the seventh episode of Song Machine. The track features Elton John and American rapper 6lack. Before the release of Song Machine, Season One: Strange Timez, Gorillaz started a radio show on Apple Music called Song Machine Radio where each virtual character has a turn to invite special guests and play some of their favourite tunes. A few days from the release of Song Machine, Season One: Strange Timez, Albarn confirmed that the band already has a song for Season Two of Song Machine prepared for release, and also mentioned that the second part of the project will be released earlier than expected. On 5 November, the band released "The Valley of the Pagans", the eighth episode of Song Machine. The track features American singer Beck. The music video is somewhat notorious for being the first major studio production filmed in Grand Theft Auto V. The video ends with a reference to previous album, Plastic Beach. For unknown reasons, the music video on the official Gorillaz YouTube channel was set to private just a few days after its initial premiere. On 9 March 2021, Gorillaz uploaded an alternative version of the music video to their official YouTube channel, which does not feature any gameplay from Grand Theft Auto V. On 24 December, the band released "The Lost Chord", the ninth and final episode of the first season of Song Machine. The track features British musician Leee John. On 26 March 2021, the band celebrated its debut album's 20th anniversary with oncoming reissues of their catalog and teases of non-fungible tokens; due to its impact on climate change, the latter was met with criticism by various sources and fans—some noting that the act contradicts the environmental themes of Plastic Beach. The band also announced a boxset, the G Collection, containing six of their studio albums—excluding The Fall—for Record Store Day. On 10 August 2021, Gorillaz debuted three new songs, "Meanwhile" (featuring British rapper Jelani Blackman), "Jimmy Jimmy" (featuring British rapper AJ Tracey), and "Déjà Vu" (featuring Jamaican-British singer Alicaì Harley), during a free concert at The O2 Arena in London, England exclusively for National Health Service employees and their families. They then performed them again at the subsequent concert open to the public the next day (both of which served as the first live audience concerts of the Song Machine Tour). These three songs were announced to be tracks from a new EP entitled Meanwhile, with the cover originally published on TikTok. On 17 September 2021, Albarn revealed that he had recorded a new Gorillaz song with Bad Bunny while in Jamaica, and it will be the first single for a new album, influenced by Latin America, releasing next year. Style and legacy Writers and critics have variously described Gorillaz as art pop, alternative rock, hip hop, electronic, trip hop, pop, dark pop, alternative hip hop, rap rock, indie rock, bedroom pop, dance-rock, new wave, funk, worldbeat, and experimental rock. The band's aesthetic and general approach has been described as postmodern. According to AllMusic, Gorillaz blend Britpop and hip-hop, while The Guardian described the band as "a sort of dub/hip-hop/lo-fi indie/world music hybrid". According to PopMatters, the band's early work foreshadowed "the melding of hip-hop, rock, and electronic elements in pop music" that grew in significance in the next decade. Gorillaz’ main musical influences include Massive Attack, the Specials, Big Audio Dynamite, Public Image Ltd, Tom Tom Club, Fun Boy Three, Unkle, A Tribe Called Quest, and De La Soul, as well as The Human League, The Kinks, XTC, Simple Minds, Sonic Youth, Pavement, Ween, Portishead, Beck, Wire, Fela Kuti, Sly and the Family Stone, Earth Wind and Fire, Augustus Pablo, Zapp, and DJ Kool Herc. Gorillaz’ primary visual influences include Hanna-Barbera, Looney Tunes, Mad magazine, The Simpsons, 2000 AD, and Métal hurlant (Heavy Metal). Furthermore, Hewlett has also cited European artists such as Carl Giles, Ronald Searle, Moebius, Tanino Liberatore, Mike McMahon, and Brendan McCarthy. The idea for Gorillaz was inspired by the many cartoon bands that came before them in the 1960s such as the Banana Splits, the Archies, Josie and the Pussycats, and Alvin and the Chipmunks, and real bands with fictional stage personas like ABC (circa How to Be a ... Zillionaire!) and Silicon Teens.Charts of Darkness. Dazed Film & TV (2001) Musical artists who have been influenced by Gorillaz include Major Lazer, Dethklok, Rat Boy, Chromeo, Flume, Foster the People, The 1975, 5 Seconds of Summer, Awolnation, Paramore, Grimes, Kesha, A.G. Cook, Finneas, Oliver Tree, Flatbush Zombies, Vic Mensa, IDK, Trippie Redd, The Internet, ASAP Rocky, Lupe Fiasco, Brockhampton and Odd Future. Gorillaz have also influenced animated series such as The Amazing World of Gumball, Glitch Techs, Rise of the Teenage Mutant Ninja Turtles, Motorcity, Tron: Uprising, Teen Titans, and Kipo and the Age of Wonderbeasts, as well as video games like Borderlands, Sunset Overdrive, No Straight Roads, Battlefield, and League of Legends. Gorillaz have collaborated with a number of brands, including Motorola, O2, Internet Explorer 9, Converse, and Jaguar Cars. They have also been featured in fashion magazines such as Maxim, Nylon, and Numéro. The band's use of the internet and digital media for promotion as early as 2000 has been touched on in retrospective reviews for being ahead of its time. Dazed magazine has summarised Gorillaz's impact as "completely reinvent[ing] the notion of what a band could be". Members Virtual members Murdoc Niccals – bass, drum machine (1998–present; hiatus 2018) 2-D – vocals, keyboards (1998–present) Noodle – guitar, keyboards, vocals (1998–2006; 2010–present) Russel Hobbs – drums, percussion (1998–2006; 2012–present) Former virtual members Paula Cracker – guitar (1998) Cyborg Noodle – guitar, vocals (2008–10) Ace – bass (2018) Virtual members timeline Touring members Touring members timeline Studio contributors Damon Albarn – vocals, instrumentation, songwriting, production, executive production (1998–present) Jamie Hewlett – songwriting, executive production, artwork, character design, video direction, visuals, FX (1998–present) Stephen Sedgwick – mixing, engineering, production (2004–present) Remi Kabaka Jr. – songwriting, production, percussion, drum programming (2015–present) John Davis – mastering, engineering (2015–present) Samuel Egglenton – assistance, engineering (2015–present) Former studio contributors Excluding small appearances by touring members. Junior Dan – bass (1998–2001) Jason Cox – production, percussion, drum programming, mixing, bass, additional guitars (1998–2010) Simon Tong – additional guitar (2004–10) Howie Weinberg – mastering, engineering (2004–10) Mick Jones – guitars (2008–11) Paul Simonon – bass (2008–11) James Ford – instrumentation, songwriting, production (2018–20) Studio contributors timeline Discography Studio albums Gorillaz (2001) Demon Days (2005) Plastic Beach (2010) The Fall (2010) Humanz (2017) The Now Now (2018) Song Machine, Season One: Strange Timez'' (2020) Tours Gorillaz Live (2001–2002) Demon Days Live (2005–2006) Escape to Plastic Beach Tour (2010) Humanz Tour (2017–2018) The Now Now Tour (2018) Song Machine Tour (2021–2022) Awards and nominations Notes References External links Gorillaz at Youtube Animated musical groups Recorded music characters Musical groups established in 1998 English electronic music groups English alternative rock groups Electronica music groups Trip hop groups Fictional musical groups English indie rock groups Dance-rock musical groups English hip hop groups Rap rock groups Alternative hip hop groups British world music groups English pop music groups Brit Award winners Grammy Award winners MTV Europe Music Award winners Parlophone artists Virgin Records artists Warner Records artists 1998 establishments in England Bands with fictional stage personas Warner Music Group artists Art pop musicians Virtual influencers
true
[ "The Rwanda Access to Information law (AIL) was written in October 2009 and put into effect with some revisions four years later, on February 8, 2013. The Prime Minister of Rwanda Paul Kagame ordered to publish the law in the official gazette on 11 March 2013, officially making the country the 11th country in Africa and 94th country globally to adopt an Access to Information law. The Rwanda AIL provides a comprehensive framework for access to information in Rwanda. The purpose of the law, as declared in Article 1, is to “enable the public and journalists to access information possessed by public organs and some private bodies.” The legislative project has been praised by Article 19, a British human rights organisation as one of the best access to information laws both in Africa and globally, and recognised by the Commonwealth Human Rights Initiative as “a signal of government’s intention to entrench transparency and enhance public participation in governance.”\n\nMain features \nRwandan access to information law goes to broaden the scope of the organs to which the law applies. Under Article 13, all private organs “whose activities are in connection with public interest, human rights and freedoms” have to comply with the Law. Article 15 then requires all private organs to appoint an information officer to deal with information requests from persons. Finally, Article 14 provides for a way for persons to access information in a private organ to which this Law does not apply.\n\nChapter IV, which deals with compliance with the Law by private organs, has been subject to some criticism. Article 19 has stated that the definition of a private body, provided in Article 2, is inconsistent with the above provisions in the Chapter IV.\n\nAn inclusion of a provision for improvement of the protection of whistleblowers has been labelled as progressive by the international community. Article 16 includes a prohibition to punish any person, who has disclosed information in the public interest.\n\nChapter III defines the procedures for accessing information. Any individual or a group of persons can apply for information with no fees required, except some postage and paper charges. The time for the provision of information is not provided in the Law, and is given to the liberty of a Ministerial Order. The request for information can be laid down in any of the constitutionally acknowledged languages and done by writing, verbally, telephone, internet or any other means of communication.\n\nThe Rwandan access to information law also provides for a broad list of exemptions where access to information can be restricted to material of “public interest.” Article 4 of the Rwandan AIL foresees that information is confidential when it may:\n destabilise national security;\n impede the enforcement of Law or justice;\n involve interference in the privy of an individual when it is not of public interest;\n violate the legitimate protection of trade secrets or other intellectual property rights protected by the Law;\n obstruct actual or contemplated legal proceedings against the management of public organ.\n\nSignificance of the Rwanda access to information act \nThe Rwandan ACI is said to help promote transparency and more budgetary accountability within the country. The right to access of information is associated with democratic values within the country. Furthermore, the Law is expected to help journalists keep the public better informed, citizens gain more knowledge on their rights and students to conduct better research.\n\nReferences\n\nRwandan law\nFreedom of information legislation", "0x80 is a hacker interviewed by Brian Krebs of The Washington Post about his lucrative business in running \"botnets\", or networks of remotely controlled personal computers without the owner's consent. The article in the 2006 February Washington Post detailed 0x80's earnings of around $6,800 a month infecting controlled personal computers with adware and spyware in exchange for a per-computer commission.\n\nLeaked data \n\n0x80 agreed to be interviewed for the Post article under the condition that he'd not be identified by name or home town.\n\nAfter a link to the article on Slashdot, a reader used the IPTC information encoded into the image to learn that Roland, Oklahoma had been entered as the picture's location. The Washington Post removed all of the images from their site and commented \"As you know we take our obligations with sources very seriously and I don't want to comment about any speculation about sources\" in response to an interview question asking \"Are you aware that the Post failed to scrub the metadata from the images used in this article, leaving information about your town?\" (question text edited by The Washington Post to remove a specific referenced town name).\n\nReferences\n\nExternal links\n\n Washington Post article\n Slashdot comments exposing image metadata\n Post blog about victims of 0x80 hacking\n\nBotnets\nComputer criminals\nHackers\nUnidentified criminals" ]
[ "Jane Goodall", "Jane Goodall Institute" ]
C_bdbd2228ab6248048766bc6a40ee0905_0
When was the institute started?
1
When was the Jane Goodall Institute started?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
In 1977,
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
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[ "Institute of Health Technology, Rajshahi or I.H.T Rajshahi is one of the government medical institutes in Rajshahi, Bangladesh. In 1976, it started with only 75 students.\n\nHistory\nIn 1976, a paramedical institute was established in Laxmipur district of Rajshahi for people of Rajshahi. It was established at the three Faculty (Pharmacy, Lab-medicine and Radiography) . Gradually increased the number of faculty. It has nearly 1050 students currently studying in 7 faculties. At first its name was \"paramedical\". From 12 July 1989 the institute changed the name. Students are admitted to the BSc course from 2009 to 2010 when the course was started. BSc courses in two faculties (BSc in Medical Technology Laboratory and BSc in physiotherapy) started functioning with 60 students.\n\nBuildings\n\nLaboratory\nIn Institute of Health Technology, Rajshahi, All departments have a different laboratory. According to the department work is to be performed in a variety of experiments.\n\nLibrary\nInstitute of Health Technology, Rajshahi have an enriched library.\n\nPublications\nAt I.H.T Rajshahi, Anniversary & the popular periodicals are published regularly. All the students and teachers at the institute can write.\n\nCourses\n\nDiploma \n Diploma in Dentistry\n Diploma in Laboratory Medicine\n Diploma in Pharmacy\n Diploma in Physiotherapy\n Diploma in Radiotherapy\n Diploma in Radiology & imaging \n Diploma in Sanitary inspector ship training\n\nBSc \n BSc in Medical technology (Laboratory)\n BSc in Physiotherapy\n\nReferences\n\n \n\nPharmacy schools\nEducational institutions established in 1976\n1976 establishments in Bangladesh", "Eqrem Çabej University is a university in the Albanian town of Gjirokastër, named after Eqrem Çabej. It is one of nine SIFE accredited universities in Albania. It was created as a University with the name of “Eqrem Çabej” with decision of the Albanian Government nr. 414, dated 12 November 1991, on the basis of the Higher Institute of Pedagogy that was already established in 1971. It is the most important teaching and scientific institute of Southern Albania.\n\nUniversity level courses in Gjirokastra had already started in 1968 when a branch of the business school of the University of Tirana had started to operate. One year later, in 1969 started the Agronomy School as a branch of the Agricultural University of Tirana, which lasted 10 years. Also, in 1969 started the Pedagogical Institute and the branch of the Academy of Physical and Sports Education Vojo Kushi which operated for 5 years.\n\nOn the basis of this experience in 1971 started its operations the Higher Pedagogical Institute. In 1980 the Biology-Chemistry School, branch of the University of Tirana was opened. In 1986 started to operate the Albanian Language School of Higher Pedagogy.\n\nSee also\nList of universities in Albania\nQuality Assurance Agency of Higher Education\nList of colleges and universities\nList of colleges and universities by country\nBalkan Universities Network\n\nNotes and references\n\nUniversities in Albania\nEducational institutions established in 1968\nGovernment entities of Albania\nBuildings and structures in Gjirokastër" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977," ]
C_bdbd2228ab6248048766bc6a40ee0905_0
What is the institutes purpose?
2
What is the Jane Goodall Institute's purpose?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
true
[ "The Instituto de Arqueología Amazónica (IAA, Amazon Archaeology Institute) is a non-profit research center organisation affiliated to the National Institute of Culture of Peru\n\nThe present director is Dr. Federico Kauffmann Doig, and is operated in combination with the Center Studi Ricerche Ligabue (Italy), whose director is the anthropologist and paleontologist Dr . Giancarlo Ligabue,\n\nThese centers have the purpose of investigating the history behind the Amazonian Peruvian Andes.\n\nExternal links \nInstituto de Arqueología Amazónica\n\nArchaeological research institutes\nResearch institutes in Peru\nUpper Amazon", "The Joint Institute for the Study of the Atmosphere and Ocean (JISAO) has existed since 1977 for the purpose of fostering research collaboration between National Oceanic and Atmospheric Administration (NOAA) Office of Oceanic and Atmospheric Research (OAR) and the University of Washington (UW). Dr. John K. Horne is the current director.\n\nIt is one of 16 NOAA Cooperative Institutes (CIs).\n\nThe JISAO research themes are:\n Climate research and impacts\n Marine ecosystems\n Environmental chemistry\n Ocean and coastal observations\n Seafloor processes\n Protection and restoration of marine resources\n Tsunami observations and modeling\n\nReferences\n\nOffice of Oceanic and Atmospheric Research\nResearch institutes in the United States\nOceanographic organizations\nMeteorological research institutes" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats." ]
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Is the institute still going?
3
Is the Jane Goodall Institute still going?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
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[ "Melody Hernandez (born 30 October 1990) is an Australian gymnastics competitor training at the Australian Institute of Sport. She is of the top gymnasts in Australia, her highlight when she made the Australian team for the 2006 World Artistic Gymnastics Championships in Aarhus, Denmark. In 2007, Melody placed 4th overall in the Australian Championships, after 3 top-ranked Australian gymnasts, one of which placed 5th overall at the 2006 world championships. After suffering a horrible injury on both her legs in 2005, Melody came back strongly and is currently still going strong, hoping to make the 2008 Beijing Olympics Team.\n\nExternal links\nGymnastics Australia profile\n\nAustralian female artistic gymnasts\nLiving people\n1990 births", "Vammen is a village in Viborg Municipality in central Jutland, Denmark. It is located north-east of Viborg. Vammen Church, which still has its original walls, has a history going back to the Romanesque period. As of 1 January 2021, Vammen has a population of 563.\n\nNotable people \n Sophie Zahrtmann (1841 in Vammen – 1925) a Danish deaconess and nurse; became Sister Superior of the Danish Deaconess Institute\n\nReferences\n\nExternal links\nVammen local website (in Danish)\n\nTowns and settlements in Viborg Municipality\nViborg Municipality" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
What is notable or interesting about the institute and the work it does?
4
What is notable or interesting about the Jane Goodall Institute?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
the JGI is widely recognised for community-centred conservation and development programs in Africa.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
true
[ "Ade Adesina was born in Nigeria in 1980 and studied Fine Art at Gray’s School of Art, Aberdeen and continues to live and work in the city. He is known for his ecologically themed linocuts, woodcuts and etchings. Some of these are on a scale which pushes the limits of print making techniques. \n\nAdesina’s work combines global images: from his African heritage, travel experiences, architecture and the natural world, to create imagined scenarios. They are stories which pose questions about the human footprint on our planet and are a call to think about the way we live. \n\n‘I work in a very strange way. Every print, sculpture or painting owns a story; it is like reading a novel. There are different characters coming in at different chapters. I don’t find it interesting knowing where a piece of work is going to end before I begin. I can start on the earth and end on the moon. What I enjoy most includes not knowing what direction a piece of work is going.’ Ade Adesina \n\nAdesina has made collaborative work with many notable artists – Ian Burke, June Carey, Lennox Dunbar, David Mach, June Carey, Barry McGlashan, Florence Poirier Nkpa and Thomasz Wrobel.\n\nAdesina has held artist residencies at Eton College, Highland Print Studio, Glasgow print Studio and Grays School of Art. He is a Royal Scottish Academician and member of the Royal Glasgow Institute of the Arts.\n\nReferences\n\nLiving people\n\n1980 births\nNigerian artists\nScottish artists\nRoyal Scottish Academicians", "Quite Interesting Limited is a British research company, most notable for providing the research for the British television panel game QI (itself an abbreviation of Quite Interesting) and the Swedish version Intresseklubben, as well as other QI–related programmes and products. The company founder and chairman is John Lloyd, the creator and producer of QI, and host of the radio panel game The Museum of Curiosity, which also uses Quite Interesting Limited for its research. John Mitchinson is the company's director and also works as head of research for QI.\n\nAbout\nLloyd founded Quite Interesting Limited in 1999. It is claimed that the idea of founding the company came on Christmas Eve 1993. According to his profile on QI.com, \"he came to the sudden and alarming realisation that he didn't really know anything. Changing gear again, he started reading books for the first time since he was 17. To his horror, he discovered that he hadn't been paying attention and, with painful slowness, unearthed the closely guarded secret that the universe is astoundingly quite interesting.\"\n\nThe philosophy of the company is that it claims that there are four primal drives: food, sex, shelter and curiosity. Out of these, curiosity is supposedly the most important because, \"unlike the other three drives, it is what makes us uniquely human.\" The company claims that, \"Whatever is interesting we are interested in. Whatever is not interesting, we are even more interested in. Everything is interesting if looked at in the right way.\"\n\nThose who carry out research are known as the \"QI Elves\". Notable elves include Justin Pollard and Vitali Vitaliev. They are also responsible for helping to write the questions used on QI. People wishing to become elves are recommended to start by commenting on the forums of the QI website.\n\nProducts\n\nDVDs\n\nBooks\n\nReferences\n\nQI\nCompanies based in Oxford\nBritish companies established in 1999\nPrivately held companies of the United Kingdom" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
How is the institute funded?
5
How is the Jane Goodall Institute funded?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
CANNOTANSWER
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
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[ "The IETT, the Institute for Transtextual and Transcultural Studies ( (IETT)), is a publicly funded research institute based in Lyon, France, and attached to the Jean Moulin University Lyon 3. It is a constituent unit of the Maison des Sciences de l'Homme Lyon St-Étienne. Its research focuses on analysis of how the world was conceived from colonialist relations, on notions of gender, and on techno-economic ideologies. Its current director is Gregory B. Lee, its Deputy directors are Florence Labaune-Demeule and Sophie Coavoux.\n\nThe IETT represents Jean Moulin University Lyon 3 within the French Network for Asian Studies (GIS Asie), and the Institut du Genre. The IETT is a founding member of Europe in a Networked World (E-NeW), and of EastAsiaNet. The IETT publishes the multilingual blind peer-reviewed academic journal Transtext(e)s-Transcultures: A Journal of Global Cultural Studies.\n\nReferences\n\nEducation in Lyon\nResearch institutes in France\nSocial science institutes", "The Government Funded Technical Institutes (GFTI) are a list of 27 technical institutes funded by the Government of India.\nAs per the official date the number of seats available for academic year 2015 were 9,260 approx. It follows similar academic and admission system as that of NITs and IIITs.\n\nProcess of admission\nSince the academic year the Joint Seat Allocation Authority (JoSAA) is responsible for conducting admission in 23 govt funded technical institute through its website.\n\nPrior to 2016, the admissions are done on the basis of merit obtained in the Joint Entrance Examination. 60% weight is given to JEE marks and 40 percent weight is given to class 12th (HSC) marks. In 2017 onwards there is no weightage of class 12 board marks.\n\nThe seat allotment is subject to merit whereas seat acceptance is subject to payment of 35,000/- INR for Open and OBC within 2–4 days, and 20,000 INR for Scheduled Castes and Scheduled Tribes. Further seat acceptance does not mean admission, a candidate offered and accepted seat have to personally report to The allotted institute and pay the remaining fees demanded by the respective institute.\n\nList of participating institutes\n\nReferences\n\nTechnical universities and colleges in India\nGovernment universities and colleges in India" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa.", "How is the institute funded?", "I don't know." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
Is the institute famous for its work, has it won any awards or recognitions?
6
Is the Jane Goodall Institute famous for its work?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
The organisation now has over 10,000 groups in over 100 countries.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
true
[ "Sanju Surendran, is an Indian film director, screenwriter and producer. He is a graduate of Film and Television Institute of India where he was taught by film director Mani Kaul. Sanju worked briefly as a teacher of Film Direction and Screenwriting at the KR Narayanan National Institute of Visual Science and Arts, Kottayam, Kerala. His documentary on Kutiyattam, Kapila won the National award for the best documentary. Sanju’s first feature film, Aedan- Garden of Desire won Rajathachakoram award for the best debut director and the FIPRESCI award for the best Malayalam film.\n\nFilmography\n\nDirector\n\nProducer\n\nAwards and recognitions\n\nReferences\n\nExternal links \n \n\n21st-century Indian film directors\nIndian male screenwriters\nLiving people\nMalayalam film directors\nMalayalam screenwriters\nFilm directors from Kerala\nScreenwriters from Kerala\n21st-century Indian male writers\nYear of birth missing (living people)\n21st-century screenwriters", "R.D. Rajasekhar is an Indian cinematographer who predominantly works in films of Indian languages such as Tamil, Malayalam, Telugu and Hindi. He is a recipient of the Tamil Nadu State Film Award for Best Cinematographer.And film fare Award and SICA award also. He is the member of the Indian Society of Cinematographers (ISC).\n\nFilm career\n\nEarly career \nAfter graduating, Rajasekhar found work as a cameraman, assisting to Rajiv menon for about nine years in many advertisement films.\n\nFeature film \nRajasekhar's first dramatic Indian Tamil-language romance film titled Minnale. The camerawork of the advertisement films impressed his former colleague and frequent collaborator Gautham Vasudev Menon. The film was well received, and popular among youth; subsequently, Rajasekhar and Gautham vasudev menon teamed up again on Kaakha Kaakha (2003). The film was praised for its unique style of visuals and scenic views through his lens, which rajasekhar achieved through a process known as Bleach bypass, where the silver is retained in the print, creating a washed-outlook that reflected in films. Rajasekhar continues serving as cinematographer for films including Red (2002 film), Kaakha Kaakha, Manmadhan (film).\n\nIn 2005, Rajasekhar begin his long-term collaboration with the director AR Murugadoss, starting with the Ghajini (2005 film), earned him many recognitions and awards for the cinematography throughout Indian cinema. Director AR Murugadoss had been impressed with rajasekhar. For this murugadoss film Ghajini, Rajasekhar spent some two month fine tuning the look, autumnal yellow and desaturating the overall image. The film won Best Cinematographer award from Tamil Nadu State Film Awards in 2005 and nominated for Best Cinematographer in Filmfare Awards South.\n\nHis Malayalam debut film was 4 the People in 2004 and also in same year he made his debut in Telugu film Industry filmed called Gharshana. Again he reunited with director AR Murugadoss on the 2016 Hindi debut film Akira (2016 Hindi film), having previously worked on Ghajini (2005 film).\n\nAwards and recognitions \nHe had been nominated for Filmfare Awards South for Best Cinematographer in 2004, winning the Best Cinematographer on his first Filmfare Awards South in 2003 for Kaakha Kaakha. He also received award from prestigious Tamil Nadu State Film Award for Best Cinematographer for film Ghajini (2005 film). He shot Imaikkaa Nodigal (2018) won Best Cinematographer in SIIMA Award for Best Cinematographer - Tamil in the same year after the release.\n\nFilmography\n\nReferences\n\nTamil film cinematographers\nLiving people\nMalayalam film cinematographers\nFilmfare Awards South winners\nM.G.R. Government Film and Television Training Institute alumni\n21st-century Indian photographers\nTelugu film cinematographers\nPeople from Mayiladuthurai district\nCinematographers from Tamil Nadu\nYear of birth missing (living people)" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa.", "How is the institute funded?", "I don't know.", "Is the institute famous for its work, has it won any awards or recognitions?", "The organisation now has over 10,000 groups in over 100 countries." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
What else is notable about the institute and its work?
7
Besides, what else is notable about the Jane Goodall Institute?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
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[ "The Byzantine Institute of America is an organization founded for the preservation of Byzantine art and architecture.\n\nHistory \nWorking with the Turkish government and President Mustafa Kemal Atatürk, its greatest notable success is the preservation of the mosaics in Hagia Sophia starting in June 1931. The institute is located in the Dumbarton Oaks Research Library and Collection, in Washington, D.C. The institute's founder was the scholar and archaeologist Thomas Whittemore.\n\nExternal links\n Dumbarton Oaks Research Library and Collection, in Washington, DC. http://www.doaks.org/ \n Work of the Byzantine Institute in Hagia Sophia\n Notes on the work of the Byzantine Institute in Istanbul 1957-1959\n\nInstitute\nArts organizations based in Washington, D.C.", "The Kavli Institute for the Physics and Mathematics of the Universe (IPMU) is an international research institute for physics and mathematics situated in Kashiwa, Japan, near Tokyo. Its full name is \"Kavli Institute for the Physics and Mathematics of the Universe, The University of Tokyo Institutes for Advanced Study, the University of Tokyo, Kashiwa, Japan\".\n\nThe main subjects of study at IPMU are particle physics, high energy physics, astrophysics, astronomy and mathematics. The institute addresses five key questions: \"How did the universe begin? What is its fate? What is it made of? What are its fundamental laws? Why do we exist?\"\n\nHistory \n\nThe Institute for the Physics and Mathematics of the Universe was created on October 1, 2007, by its founding director Hitoshi Murayama and the University of Tokyo. It is funded by the Japanese Ministry of Science, as a part of their World Premier International Research Center Initiative. In 2012, the IPMU received an endowment from the Kavli Foundation and was renamed the Kavli Institute for the Physics and Mathematics of the Universe.\n\nMembers of IPMU \n\nMany notable scientists are employed at the IPMU. Among them:\n\n Takaaki Kajita\n Stavros Katsanevas\n Young-Kee Kim\n Toshiyuki Kobayashi\n Hiraku Nakajima\n Yasunori Nomura\n Hirosi Ooguri\n David Spergel\n\nReferences\n\nExternal links \n Kavli IPMU site\n Kavli Institute for the Physics and Mathematics of the Universe, Japan (video, 7:25)\n Sixty Years of Science for Peace and Development (UN lecture, video, 13:17)\n\nResearch institutes in Japan\nPhysics institutes\nMathematical institutes\nKavli Institutes\nUniversity of Tokyo" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa.", "How is the institute funded?", "I don't know.", "Is the institute famous for its work, has it won any awards or recognitions?", "The organisation now has over 10,000 groups in over 100 countries.", "What else is notable about the institute and its work?", "the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
Is the institute considered successful in its missions and goals?
8
Is the Jane Goodall Institute considered successful?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
false
[ "The Mars Institute is an international non-governmental organization created with the goals of advancing the scientific study and exploration of Mars, conducting peer-reviewed research, and educating the public about Mars exploration. It was incorporated as a non-profit corporation in both United States and Canada in 2002.\n\nThe Haughton-Mars Project is an interdisciplinary research project being carried out by the Mars Institute and SETI. The institute also supports two other projects: the Mars Institute Mars-1 Humvee Rover and the Romance to Reality project. Donated by AM General, the Mars-1 Humvee is designed to accommodate crews of up to four researchers on Devon Island and to act as a test bed for future manned rovers on the Moon and Mars. The Romance to Reality: Moon & Mars mission plans project is a collection of annotated Moon and Mars exploration studies carried out since 1950.\n\nMars Institute-USA is based in the NASA Ames Research Park at Moffett Field, California. Mars Institute-Canada is headquartered in Vancouver, British Columbia.\n\nReferences\n\nExternal links\n\nThe Mars Institute\n2009 Northwest Passage Drive Expedition\n\nSpace organizations\nScientific organizations based in the United States\nHuman missions to Mars", "The Institut für Weltraumforschung (IWF - Space Research Institute) is one of the biggest institutes of the Austrian Academy of Sciences (Österreichische Akademie der Wissenschaften - OeAW) and is located in Graz. Established in 1970, it has been studying the physics of space plasmas and the atmospheres of planets inside and outside our solar system for more than 50 years. With about 100 employees from twenty nations, it is located in the Victor Franz Hess Research Center of OeAW in the south of Graz. At the Lustbühel Observatory it operates a satellite laser ranging station, which is one of the best in the world.\n\nParticipation in space missions \n\nIWF is the only institute in Austria that develops and builds space-qualified instruments on a large scale. The data returned by them are scientifically analysed and physically interpreted at the institute. IWF's core engineering expertise is in building magnetometers and on-board computers, as well as in laser ranging to satellites and space debris. In terms of science, IWF concentrates on dynamic processes in space plasma physics and on the upper atmospheres of planets and exoplanets - i.e. planets outside our solar system.\n\nSpace has been explored with the help of satellites for more than 60 years and still poses many puzzles. Since the beginning of the 1980s, IWF has contributed/is contributing to more than 40 international space missions with over 100 scientific instruments. The institute is currently involved in 23 projects led by the European Space Agency (ESA), NASA or national space agencies in Japan, Russia, China, and South Korea. The missions cover fleets of satellites in near-Earth space (Cluster, MMS, THEMIS), the observation of the Sun (STEREO, Solar Orbiter) and the exploration of planets such as Mercury (BepiColombo), Jupiter (Juno, JUICE) and extrasolar planets (CHEOPS). From building the instruments to analyzing their data, these projects last 10-30 years. While IWF has already \"harvested\" the data from past missions (Cassini/Huygens, Rosetta) and the scientists are eagerly analyzing the data from the current missions, in the laboratory the sophisticated sensors and instruments for future missions are being developed.\n\nExternal links\nOfficial website of IWF\n\nResearch institutes in Austria\nSpace research" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa.", "How is the institute funded?", "I don't know.", "Is the institute famous for its work, has it won any awards or recognitions?", "The organisation now has over 10,000 groups in over 100 countries.", "What else is notable about the institute and its work?", "the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data.", "Is the institute considered successful in its missions and goals?", "Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
Can you name some of the successes of the institute?
9
Can you name some of the successes of the Jane Goodall Institute?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection.
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
true
[ "Sergio, real name Serge Quisquater, is a Belgian musician born in Leuven on 2 April 1965. His first record was released in 1987. He became well known as the male half of the duo \"Taste of Joy\", together with singer Sandy Boets. They released several singles and albums. Later they changed their name to Touch of Joy and had some international successes.\n\nSince 1999 Sergio has hosted several television shows, and the Touch Of Joy project brought him new success with the song \"I Can't Let You Go\".\n\nIn 2002 he represented Belgium in the Eurovision Song Contest together with three Dutch women, Ibernice Macbean, Ingrid Simons and Jodi Pijper. They called themselves \"Sergio & The Ladies\" and performed Sister.\n\nReferences\n\nEurovision Song Contest entrants for Belgium\nEurovision Song Contest entrants of 2002\nMusicians from Leuven\nBelgian pop music groups", "In probability theory and statistics, the negative hypergeometric distribution describes probabilities for when sampling from a finite population without replacement in which each sample can be classified into two mutually exclusive categories like Pass/Fail, Male/Female or Employed/Unemployed. As random selections are made from the population, each subsequent draw decreases the population causing the probability of success to change with each draw. Unlike the standard hypergeometric distribution, which describes the number of successes in a fixed sample size, in the negative hypergeometric distribution, samples are drawn until failures have been found, and the distribution describes the probability of finding successes in such a sample. In other words, the negative hypergeometric distribution describes the likelihood of successes in a sample with exactly failures.\n\nDefinition \nThere are elements, of which are defined as \"successes\" and the rest are \"failures\".\n\nElements are drawn one after the other, without replacements, until failures are encountered. Then, the drawing stops and the number of successes is counted. The negative hypergeometric distribution, is the discrete distribution of this .\n\nThe negative hypergeometric distribution is a special case of the beta-binomial distribution with parameters and both being integers (and ).\n\nThe outcome requires that we observe successes in draws and the bit must be a failure. The probability of the former can be found by the direct application of the hypergeometric distribution and the probability of the latter is simply the number of failures remaining divided by the size of the remaining population . The probability of having exactly successes up to the failure (i.e. the drawing stops as soon as the sample includes the predefined number of failures) is then the product of these two probabilities: \n\nTherefore, a random variable follows the negative hypergeometric distribution if its probability mass function (pmf) is given by\n\nwhere\n is the population size,\n is the number of success states in the population,\n is the number of failures,\n is the number of observed successes,\n is a binomial coefficient\nBy design the probabilities sum up to 1. However, in case we want show it explicitly we have:\n\nwhere we have used that,\n\nwhich can be derived using the binomial identity, , and the Chu–Vandermonde identity, , which holds for any complex-values and and any non-negative integer . \n\nThe relationship can also be found by examination of the coefficient of in the expansion of , using Newton's binomial series.\n\nExpectation \nWhen counting the number of successes before failures, the expected number of successes is and can be derived as follows. \n\nwhere we have used the relationship , that we derived above to show that the negative hypergeometric distribution was properly normalized.\n\nVariance \nThe variance can be derived by the following calculation.\n\nThen the variance is\n\nRelated distributions \nIf the drawing stops after a constant number of draws (regardless of the number of failures), then the number of successes has the hypergeometric distribution, . The two functions are related in the following way:\n\nNegative-hypergeometric distribution (like the hypergeometric distribution) deals with draws without replacement, so that the probability of success is different in each draw. In contrast, negative-binomial distribution (like the binomial distribution) deals with draws with replacement, so that the probability of success is the same and the trials are independent. The following table summarizes the four distributions related to drawing items:\n\nReferences \n\nDiscrete distributions\nFactorial and binomial topics" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa.", "How is the institute funded?", "I don't know.", "Is the institute famous for its work, has it won any awards or recognitions?", "The organisation now has over 10,000 groups in over 100 countries.", "What else is notable about the institute and its work?", "the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data.", "Is the institute considered successful in its missions and goals?", "Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database.", "Can you name some of the successes of the institute?", "Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
What else is the institute known for?
10
Besides, what else is the Jane Goodall institute known for?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
CANNOTANSWER
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
false
[ "\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer", "Paul L. Schechter (born May 30, 1948) is an American astronomer and observational cosmologist. He is the William A. M. Burden Professor of Astrophysics, Emeritus, at MIT.\n\nSchechter received his bachelor's degree from Cornell in 1968, and his Ph.D. degree from Caltech in 1975. He held postdoctoral positions at the Institute for Advanced Study and the University of Arizona, then went to Harvard as an assistant professor. He moved to his present position at MIT in 1988. Schechter was elected to the U.S. National Academy of Sciences in 2003.\n\nSchechter is known for his work establishing what is now known as the Schechter luminosity function for galaxies, and for work with William Press on what is now termed the Press–Schechter formalism. He also developed accurate methods for measuring velocity dispersions of galaxies, analyzed the Virgocentric infall, and performed precise analyses of gravitational lenses.\n\nReferences\n\nLiving people\nMembers of the United States National Academy of Sciences\n1948 births\n20th-century American Jews\nCalifornia Institute of Technology alumni\nMassachusetts Institute of Technology School of Science faculty\nCornell University alumni\nInstitute for Advanced Study visiting scholars\nUniversity of Arizona people\nHarvard University faculty\nFellows of the American Academy of Arts and Sciences\n21st-century American Jews" ]
[ "Jane Goodall", "Jane Goodall Institute", "When was the institute started?", "In 1977,", "What is the institutes purpose?", "), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats.", "Is the institute still going?", "Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year.", "What is notable or interesting about the institute and the work it does?", "the JGI is widely recognised for community-centred conservation and development programs in Africa.", "How is the institute funded?", "I don't know.", "Is the institute famous for its work, has it won any awards or recognitions?", "The organisation now has over 10,000 groups in over 100 countries.", "What else is notable about the institute and its work?", "the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data.", "Is the institute considered successful in its missions and goals?", "Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database.", "Can you name some of the successes of the institute?", "Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection.", "What else is the institute known for?", "I don't know." ]
C_bdbd2228ab6248048766bc6a40ee0905_0
Does the institute contribute to scientific knowledge or research?
11
Does Jane Goodall contribute to scientific knowledge or research?
Jane Goodall
In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. Due to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised and analysed and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. CANNOTANSWER
Goodall is also a board member for the world's largest chimpanzee sanctuary outside of Africa,
Dame Jane Morris Goodall (; born Valerie Jane Morris-Goodall on 3 April 1934), formerly Baroness Jane van Lawick-Goodall, is an English primatologist and anthropologist. Seen as the world's foremost expert on chimpanzees, Goodall is best known for her 60-year study of social and family interactions of wild chimpanzees since she first went to Gombe Stream National Park in Tanzania in 1960, where she witnessed human-like behaviours amongst chimpanzees, including armed conflict. In April 2002, she was named a UN Messenger of Peace. Goodall is an honorary member of the World Future Council. Early years Valerie Jane Morris-Goodall was born in 1934 in Hampstead, London, to businessman Mortimer Herbert Morris-Goodall (1907–2001) and Margaret Myfanwe Joseph (1906–2000), a novelist from Milford Haven, Pembrokeshire, who wrote under the name Vanne Morris-Goodall. The family later moved to Bournemouth, and Goodall attended Uplands School, an independent school in nearby Poole. As a child, as an alternative to a teddy bear, Goodall's father gave her a stuffed chimpanzee named Jubilee. Goodall has said her fondness for this figure started her early love of animals, commenting, "My mother's friends were horrified by this toy, thinking it would frighten me and give me nightmares." Today, Jubilee still sits on Goodall's dresser in London. Africa Goodall had always been drawn to animals and Africa, which brought her to the farm of a friend in the Kenya highlands in 1957. From there, she obtained work as a secretary, and acting on her friend's advice, she telephoned Louis Leakey, the Kenyan archaeologist and palaeontologist, with no other thought than to make an appointment to discuss animals. Leakey, believing that the study of existing great apes could provide indications of the behaviour of early hominids, was looking for a chimpanzee researcher, though he kept the idea to himself. Instead, he proposed that Goodall work for him as a secretary. After obtaining approval from his co-researcher and wife, British paleoanthropologist Mary Leakey, Louis sent Goodall to Olduvai Gorge in Tanganyika (present-day Tanzania), where he laid out his plans. In 1958, Leakey sent Goodall to London to study primate behaviour with Osman Hill and primate anatomy with John Napier. Leakey raised funds, and on 14 July 1960, Goodall went to Gombe Stream National Park, becoming the first of what would come to be called The Trimates. She was accompanied by her mother, whose presence was necessary to satisfy the requirements of David Anstey, chief warden, who was concerned for their safety. Goodall credits her mother with encouraging her to pursue a career in primatology, a male-dominated field at the time. Goodall has stated that women were not accepted in the field when she started her research in the late 1950s. Today, the field of primatology is made up almost evenly of men and women, in part thanks to the trailblazing of Goodall and her encouragement of young women to join the field. Leakey arranged funding, and in 1962 he sent Goodall, who had no degree, to the University of Cambridge. She went to Newnham College, Cambridge, where she obtained a PhD in ethology. She was the eighth person to be allowed to study for a PhD there without first having obtained a Bachelor's degree. Her thesis was completed in 1966 under the supervision of Robert Hinde on the Behaviour of free-living chimpanzees, detailing her first five years of study at the Gombe Reserve. On 19 June 2006 the Open University of Tanzania awarded her an honorary Doctor of Science degree. Work Research at Gombe Stream National Park Goodall is best known for her study of chimpanzee social and family life. She began studying the Kasakela chimpanzee community in Gombe Stream National Park, Tanzania, in 1960. Instead of numbering the chimpanzees she observed, she gave them names such as Fifi and David Greybeard and observed them to have unique and individual personalities, an unconventional idea at the time. She found that "it isn't only human beings who have personality, who are capable of rational thought [and] emotions like joy and sorrow." She also observed behaviours such as hugs, kisses, pats on the back, and even tickling, what we consider "human" actions. Goodall insists that these gestures are evidence of "the close, supportive, affectionate bonds that develop between family members and other individuals within a community, which can persist throughout a life span of more than 50 years." These findings suggest that similarities between humans and chimpanzees exist in more than genes alone and can be seen in emotion, intelligence, and family and social relationships. Goodall's research at Gombe Stream is best known to the scientific community for challenging two long-standing beliefs of the day: that only humans could construct and use tools, and that chimpanzees were vegetarians. While observing one chimpanzee feeding at a termite mound, she watched him repeatedly place stalks of grass into termite holes, then remove them from the hole covered with clinging termites, effectively "fishing" for termites. The chimpanzees would also take twigs from trees and strip off the leaves to make the twig more effective, a form of object modification that is the rudimentary beginnings of toolmaking. Humans had long distinguished themselves from the rest of the animal kingdom as "Man the Toolmaker". In response to Goodall's revolutionary findings, Louis Leakey wrote, "We must now redefine man, redefine tool, or accept chimpanzees as human!" In contrast to the peaceful and affectionate behaviours she observed, Goodall also found an aggressive side of chimpanzee nature at Gombe Stream. She discovered that chimpanzees will systematically hunt and eat smaller primates such as colobus monkeys. Goodall watched a hunting group isolate a colobus monkey high in a tree and block all possible exits; then one chimpanzee climbed up and captured and killed the colobus. The others then each took parts of the carcass, sharing with other members of the troop in response to begging behaviours. The chimpanzees at Gombe kill and eat as much as one-third of the colobus population in the park each year. This alone was a major scientific find that challenged previous conceptions of chimpanzee diet and behaviour. Goodall also observed the tendency for aggression and violence within chimpanzee troops. Goodall observed dominant females deliberately killing the young of other females in the troop to maintain their dominance, sometimes going as far as cannibalism. She says of this revelation, "During the first ten years of the study I had believed […] that the Gombe chimpanzees were, for the most part, rather nicer than human beings. […] Then suddenly we found that chimpanzees could be brutal—that they, like us, had a darker side to their nature." She described the 1974–1978 Gombe Chimpanzee War in her 1990 memoir, Through a Window: My Thirty Years with the Chimpanzees of Gombe. Her findings revolutionised contemporary knowledge of chimpanzee behaviour and were further evidence of the social similarities between humans and chimpanzees, albeit in a much darker manner. Goodall also set herself apart from the traditional conventions of the time by naming the animals in her studies of primates instead of assigning each a number. Numbering was a nearly universal practice at the time and was thought to be important in the removal of oneself from the potential for emotional attachment to the subject being studied. Setting herself apart from other researchers also led her to develop a close bond with the chimpanzees and to become, to this day, the only human ever accepted into chimpanzee society. She was the lowest-ranking member of a troop for a period of 22 months. Among those whom Goodall named during her years in Gombe were: David Greybeard, a grey-chinned male who first warmed up to Goodall; Goliath, a friend of David Greybeard, originally the alpha male named for his bold nature; Mike, who through his cunning and improvisation displaced Goliath as the alpha male; Humphrey, a big, strong, bullysome male; Gigi, a large, sterile female who delighted in being the "aunt" of any young chimps or humans; Mr. McGregor, a belligerent older male; Flo, a motherly, high-ranking female with a bulbous nose and ragged ears, and her children; Figan, Faben, Freud, Fifi, and Flint; Frodo, Fifi's second-oldest child, an aggressive male who would frequently attack Jane and ultimately forced her to leave the troop when he became alpha male. Jane Goodall Institute In 1977, Goodall established the Jane Goodall Institute (JGI), which supports the Gombe research, and she is a global leader in the effort to protect chimpanzees and their habitats. With nineteen offices around the world, the JGI is widely recognised for community-centred conservation and development programs in Africa. Its global youth program, Roots & Shoots, began in 1991 when a group of 16 local teenagers met with Goodall on her back porch in Dar es Salaam, Tanzania. They were eager to discuss a range of problems they knew about from first-hand experience that caused them deep concern. The organisation now has over 10,000 groups in over 100 countries. In 1992, Goodall founded the Tchimpounga Chimpanzee Rehabilatation Centre in the Republic of Congo to care for chimpanzees orphaned due to bush-meat trade. The rehabilitation houses over a hundred chimps over its three islands. In 1994, Goodall founded the Lake Tanganyika Catchment Reforestation and Education (TACARE or "Take Care") pilot project to protect chimpanzees' habitat from deforestation by reforesting hills around Gombe while simultaneously educating neighbouring communities on sustainability and agriculture training. The TACARE project also supports young girls by offering them access to reproductive health education and through scholarships to finance their college tuition. Owing to an overflow of handwritten notes, photographs, and data piling up at Jane's home in Dar es Salaam in the mid-1990s, the Jane Goodall Institute's Center for Primate Studies was created at the University of Minnesota to house and organise this data. Currently all of the original Jane Goodall archives reside there and have been digitised, analysed, and placed in an online database. On 17 March 2011, Duke University spokesman Karl Bates announced that the archives will move to Duke, with Anne E. Pusey, Duke's chairman of evolutionary anthropology, overseeing the collection. Pusey, who managed the archives in Minnesota and worked with Goodall in Tanzania, had worked at Duke for a year. In 2018 and 2020, Goodall partnered with friend, CEO Michael Cammarata on two natural product lines from Schmidt's Naturals and Neptune Wellness Solutions. Five percent of every sale benefited the Jane Goodall Institute. Today, Goodall devotes virtually all of her time to advocacy on behalf of chimpanzees and the environment, travelling nearly 300 days a year. Goodall is also on the advisory council for the world's largest chimpanzee sanctuary outside of Africa, Save the Chimps in Fort Pierce, Florida. Activism Goodall credits the 1986 Understanding Chimpanzees conference, hosted by the Chicago Academy of Sciences, with shifting her focus from observation of chimpanzees to a broader and more intense concern with animal-human conservation. She is the former president of Advocates for Animals, an organisation based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport. Goodall is a vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals (2009), Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?" Goodall has also said: "Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat." In 2021, Goodall became a vegan and authored a cookbook titled Eat Meat Less. Goodall is an outspoken environmental advocate, speaking on the effects of climate change on endangered species such as chimpanzees. Goodall, alongside her foundation, collaborated with NASA to use satellite imagery from the Landsat series to remedy the effects of deforestation on chimpanzees and local communities in Western Africa by offering the villagers information on how to reduce activity and preserve their environment. In 2000, to ensure the safe and ethical treatment of animals during ethological studies, Goodall, alongside Professor Mark Bekoff, founded the organization Ethologists for the Ethical Treatment of Animals. In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series. In 2008, Goodall demanded the European Union end the use of medical research on animals and ensure more funding for alternative methods of medical research. In May 2008, Goodall controversially described Edinburgh Zoo's new primate enclosure as a "wonderful facility" where monkeys "are probably better off [than those] living in the wild in an area like Budongo, where one in six gets caught in a wire snare, and countries like Congo, where chimpanzees, monkeys and gorillas are shot for food commercially." This was in conflict with Advocates for Animals' position on captive animals. In June 2008, Goodall confirmed that she had resigned the presidency of the organisation which she had held since 1998, citing her busy schedule and explaining, "I just don't have time for them." Goodall is a patron of population concern charity Population Matters and is currently an ambassador for Disneynature. In 2010, Goodall, through JGI, formed a coalition with a number of organizations such as the Wildlife Conservation Society (WCS) and the Humane Society of the United States (HSUS) and petitioned to list all chimpanzees, including those that are captive, as endangered. In 2015, the U.S. Fish and Wildlife Service(FWS) announced that they would accept this rule and that all chimpanzees would be classified as endangered. In 2011, Goodall became a patron of Australian animal protection group Voiceless, the animal protection institute. "I have for decades been concerned about factory farming, in part because of the tremendous harm inflicted on the environment, but also because of the shocking ongoing cruelty perpetuated on millions of sentient beings." In 2012, Goodall took on the role of challenger for the Engage in Conservation Challenge with the DO School, formerly known as the D&F Academy. She worked with a group of aspiring social entrepreneurs to create a workshop to engage young people in conserving biodiversity, and to tackle a perceived global lack of awareness of the issue. In 2014, Goodall wrote to Air France executives, criticizing the airline's continued transport of monkeys to laboratories. Goodall called the practice "cruel" and "traumatic" for the monkeys involved. The same year, Goodall also wrote to the National Institutes of Health (NIH) to criticize maternal deprivation experiments on baby monkeys in NIH laboratories. Prior to the 2015 UK general election, she was one of several celebrities who endorsed the parliamentary candidacy of the Green Party's Caroline Lucas. Goodall is a critic of fox hunting and was among more than 20 high-profile people who signed a letter to Members of Parliament in 2015 opposing Conservative prime minister David Cameron's plan to amend the Hunting Act 2004. During August 2019, Goodall was honoured for her contributions to science with a bronze sculpture in midtown Manhattan alongside nine other women, part of the "Statues for Equality" project. In 2020, continuing her organization's work on the environment, Goodall vowed to plant 5 million trees, part of the 1 trillion tree initiative founded by the World Economic Forum. In February 2021, Jane Goodall and more than 140 scientists called on the EU Commission to abolish caging of farm animals. Personal life Goodall has married twice. On 28 March 1964, she married a Dutch nobleman, wildlife photographer Baron Hugo van Lawick, at Chelsea Old Church, London, and became known during their marriage as Baroness Jane van Lawick-Goodall. The couple had a son, Hugo Eric Louis (born 1967); they divorced in 1974. The following year, she married Derek Bryceson, a member of Tanzania's parliament and the director of that country's national parks. He died of cancer in October 1980. Owing to his position in the Tanzanian government as head of the country's national park system, Bryceson could protect Goodall's research project and implement an embargo on tourism at Gombe. Goodall has stated that dogs are her favourite animal. Goodall suffers from prosopagnosia, which makes it difficult to recognize familiar faces. Religion and spirituality Goodall was raised in a Christian congregationalist family. As a young woman, she took night classes in Theosophy. Her family were occasional churchgoers, but Goodall began attending more regularly as a teenager when the church appointed a new minister, Trevor Davies. "He was highly intelligent and his sermons were powerful and thought-provoking... I could have listened to his voice for hours... I fell madly in love with him... Suddenly, no one had to encourage me to go to church. Indeed, there were never enough services for my liking." Of her later discovery of the atheism and agnosticism of many of her scientific colleagues, Goodall wrote that "[f]ortunately, by the time I got to Cambridge I was twenty-seven years old and my beliefs had already moulded so that I was not influenced by these opinions." In her 1999 book Reason for Hope: A Spiritual Journey, Goodall describes the implications of a mystical experience she had at Notre Dame Cathedral in 1977: "Since I cannot believe that this was the result of chance, I have to admit anti-chance. And so I must believe in a guiding power in the universe – in other words, I must believe in God." When asked if she believes in God, Goodall said in September 2010: "I don't have any idea of who or what God is. But I do believe in some great spiritual power. I feel it particularly when I'm out in nature. It's just something that's bigger and stronger than what I am or what anybody is. I feel it. And it's enough for me." When asked in the same year if she still considers herself a Christian, Goodall told the Guardian "I suppose so; I was raised as a Christian." In her foreword to the 2017 book The Intelligence of the Cosmos by Ervin Laszlo, a philosopher of science who advocates quantum consciousness theory, Goodall wrote: "we must accept that there is an Intelligence driving the process [of evolution], that the Universe and life on Earth are inspired and in-formed by an unknown and unknowable Creator, a Supreme Being, a Great Spiritual Power." Criticism Goodall used unconventional practices in her study; for example, naming individuals instead of numbering them. At the time, numbering was used to prevent emotional attachment and loss of objectivity. Goodall wrote in 1993: "When, in the early 1960s, I brazenly used such words as 'childhood', 'adolescence', 'motivation', 'excitement', and 'mood' I was much criticised. Even worse was my crime of suggesting that chimpanzees had 'personalities'. I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins -anthropomorphism." Many standard methods aim to avoid interference by observers, and in particular some believe that the use of feeding stations to attract Gombe chimpanzees has altered normal foraging and feeding patterns and social relationships. This argument is the focus of a book published by Margaret Power in 1991. It has been suggested that higher levels of aggression and conflict with other chimpanzee groups in the area were due to the feeding, which could have created the "wars" between chimpanzee social groups described by Goodall, aspects of which she did not witness in the years before artificial feeding began at Gombe. Thus, some regard Goodall's observations as distortions of normal chimpanzee behaviour. Goodall herself acknowledged that feeding contributed to aggression within and between groups, but maintained that the effect was limited to alteration of the intensity and not the nature of chimpanzee conflict, and further suggested that feeding was necessary for the study to be effective at all. Craig Stanford of the Jane Goodall Research Institute at the University of Southern California states that researchers conducting studies with no artificial provisioning have a difficult time viewing any social behaviour of chimpanzees, especially those related to inter-group conflict. Some recent studies, such as those by Crickette Sanz in the Goualougo Triangle (Congo) and Christophe Boesch in the Taï National Park (Ivory Coast), have not shown the aggression observed in the Gombe studies. However, other primatologists disagree that the studies are flawed; for example, Jim Moore provides a critique of Margaret Powers' assertions and some studies of other chimpanzee groups have shown aggression similar to that in Gombe even in the absence of feeding. Plagiarism and Seeds of Hope On 22 March 2013, Hachette Book Group announced that Goodall's and co-author Gail Hudson's new book, Seeds of Hope, would not be released on 2 April as planned due to the discovery of plagiarised portions. A reviewer for The Washington Post found unattributed sections that were copied from websites about organic tea, tobacco, an "amateurish astrology site", as well as from Wikipedia. Goodall apologised and stated, "It is important to me that the proper sources are credited, and I will be working diligently with my team to address all areas of concern. My goal is to ensure that when this book is released it is not only up to the highest of standards, but also that the focus be on the crucial messages it conveys." The book was released on 1 April 2014, after review and the addition of 57 pages of endnotes. In popular culture Gary Larson cartoon incident One of Gary Larson's Far Side cartoons shows two chimpanzees grooming. One finds a blonde human hair on the other and inquires, "Conducting a little more 'research' with that Jane Goodall tramp?" Goodall herself was in Africa at the time, and the Jane Goodall Institute thought this was in bad taste and had its lawyers draft a letter to Larson and his distribution syndicate in which they described the cartoon as an "atrocity". They were stymied by Goodall herself: When she returned and saw the cartoon, she stated that she found the cartoon amusing. Since then, all profits from sales of a shirt featuring this cartoon go to the Jane Goodall Institute. Goodall wrote a preface to The Far Side Gallery 5, detailing her version of the controversy, and the institute's letter was included next to the cartoon in the complete Far Side collection. She praised Larson's creative ideas, which often compare and contrast the behaviour of humans and animals. In 1988, when Larson visited Goodall's research facility in Tanzania, he was attacked by a chimpanzee named Frodo. Lego The Lego Group announced a set called 40530 Jane Goodall Tribute that will be released on 3 March 2022. Radio Four Today programme On December 31, 2021, Goodall was the guest editor of the BBC Radio Four Today programme. She chose Francis Collins to be presenter of Thought for the Day. Awards and recognition Honours Goodall has received many honours for her environmental and humanitarian work, as well as others. She was named a Dame Commander of the Most Excellent Order of the British Empire in an Investiture held in Buckingham Palace in 2004. In April 2002, Secretary-General Kofi Annan named Goodall a United Nations Messenger of Peace. Her other honours include the Tyler Prize for Environmental Achievement, the French Legion of Honour, Medal of Tanzania, Japan's prestigious Kyoto Prize, the Benjamin Franklin Medal in Life Science, the Gandhi-King Award for Nonviolence and the Spanish Prince of Asturias Awards. She is also a member of the advisory board of BBC Wildlife magazine and a patron of Population Matters (formerly the Optimum Population Trust). She has received many tributes, honours, and awards from local governments, schools, institutions, and charities around the world. Goodall is honoured by The Walt Disney Company with a plaque on the Tree of Life at Walt Disney World's Animal Kingdom theme park, alongside a carving of her beloved David Greybeard, the original chimpanzee that approached Goodall during her first year at Gombe. In 2010, Dave Matthews and Tim Reynolds held a benefit concert at DAR Constitution Hall in Washington DC to commemorate Gombe 50: a global celebration of Jane Goodall's pioneering chimpanzee research and inspiring vision for our future. Time magazine named Goodall as one of the 100 most influential people in the world in 2019. In 2021, she received the Templeton Prize. Media Books 1969 My Friends the Wild Chimpanzees Washington, DC: National Geographic Society 1971 Innocent Killers (with H. van Lawick). Boston: Houghton Mifflin; London: Collins 1971 In the Shadow of Man Boston: Houghton Mifflin; London: Collins. Published in 48 languages 1986 The Chimpanzees of Gombe: Patterns of Behavior Boston: Bellknap Press of the Harvard University Press. Published also in Japanese and Russian. R.R. Hawkins Award for the Outstanding Technical, Scientific or Medical book of 1986, to Bellknap Press of Harvard University Press, Boston. The Wildlife Society (USA) Award for "Outstanding Publication in Wildlife Ecology and Management" 1990 Through a Window: 30 years observing the Gombe chimpanzees London: Weidenfeld & Nicolson; Boston: Houghton Mifflin. Translated into more than 15 languages. 1991 Penguin edition, UK. American Library Association "Best" list among Nine Notable Books (Nonfiction) for 1991 1991 Visions of Caliban (co-authored with Dale Peterson, PhD). Boston: Houghton Mifflin. New York Times "Notable Book" for 1993. Library Journal "Best Sci-Tech Book" for 1993 1999 Brutal Kinship (with Michael Nichols). New York: Aperture Foundation 1999 Reason For Hope; A Spiritual Journey (with Phillip Berman). New York: Warner Books, Inc. Translated into Japanese and Portuguese 2000 40 Years At Gombe New York: Stewart, Tabori, and Chang 2000 Africa In My Blood (edited by Dale Peterson). New York: Houghton Mifflin Company 2001 Beyond Innocence: An Autobiography in Letters, the later years (edited by Dale Peterson). New York: Houghton Mifflin Company 2002 The Ten Trusts: What We Must Do To Care for the Animals We Love (with Marc Bekoff). San Francisco: Harper San Francisco 2005 Harvest for Hope: A Guide to Mindful Eating New York: Warner Books, Inc. 2009 Hope for Animals and Their World: How Endangered Species Are Being Rescued from the Brink Grand Central Publishing 2013 Seeds of Hope: Wisdom and Wonder from the World of Plants (with Gail Hudson) Grand Central Publishing 2021 The Book of Hope, with Douglas Abrams and Gail Hudson, Viking Children's books 1972 Grub: The Bush Baby (with H. van Lawick). Boston: Houghton Mifflin 1988 My Life with the Chimpanzees New York: Byron Preiss Visual Publications, Inc. Translated into French, Japanese and Chinese. Parenting's Reading-Magic Award for "Outstanding Book for Children," 1989 1989 The Chimpanzee Family Book Saxonville, MA: Picture Book Studio; Munich: Neugebauer Press; London: Picture Book Studio. Translated into more than 15 languages, including Japanese and Swahili. The UNICEF Award for the best children's book of 1989. Austrian state prize for best children's book of 1990. 1989 Jane Goodall's Animal World: Chimps New York: Macmillan 1989 Animal Family Series: Chimpanzee Family; Lion Family; Elephant Family; Zebra Family; Giraffe Family; Baboon Family; Hyena Family; Wildebeest Family Toronto: Madison Marketing Ltd 1994 With Love New York / London: North-South Books. Translated into German, French, Italian, and Japanese 1999 Dr. White (illustrated by Julie Litty). New York: North-South Books 2000 The Eagle & the Wren (illustrated by Alexander Reichstein). New York: North-South Books 2001 Chimpanzees I Love: Saving Their World and Ours New York: Scholastic Press 2002 (Foreword) "Slowly, Slowly, Slowly," Said the Sloth by Eric Carle. Philomel Books 2004 Rickie and Henri: A True Story (with Alan Marks) Penguin Young Readers Group Films Goodall is the subject of more than 40 films: 1965 Miss Goodall and the Wild Chimpanzees National Geographic Society 1973 Jane Goodall and the World of Animal Behavior: The Wild Dogs of Africa with Hugo van Lawick 1975 Miss Goodall: The Hyena Story The World of Animal Behavior Series 16mm 1979 version for DiscoVision, not released for LaserDisc 1976 Lions of the Serengeti an episode of The World About Us on BBC2 1984 Among the Wild Chimpanzees National Geographic Special 1988 People of the Forest with Hugo van Lawick 1990 Chimpanzee Alert in the Nature Watch Series, Central Television 1990 The Life and Legend of Jane Goodall National Geographic Society. 1990 The Gombe Chimpanzees Bavarian Television 1995 Fifi's Boys for the Natural World series for the BBC 1996 Chimpanzee Diary for BBC2 Animal Zone 1997 Animal Minds for BBC Goodall voiced herself in the animated TV series The Wild Thornberrys. 2000 Jane Goodall: Reason For Hope PBS special produced by KTCA 2001 2002 Jane Goodall's Wild Chimpanzees (IMAX format), in collaboration with Science North 2005 Jane Goodall's Return to Gombe for Animal Planet 2006 Chimps, So Like Us HBO film nominated for 1990 Academy Award 2007 When Animals Talk We Should Listen theatrical documentary feature co-produced by Animal Planet 2010 Jane's Journey theatrical documentary feature co-produced by Animal Planet 2012 Chimpanzee theatrical nature documentary feature co-produced by Disneynature 2017 Jane biographical documentary film National Geographic Studios, in association with Public Road Productions. The film is directed and written by Brett Morgen, music by Philip Glass 2018 Zayed's Antarctic Lights Dr Jane featured in the Environment Agency-Abu Dhabi film that screened on National Geographic-Abu Dhabi and won a World Medal at the New York Film and TV Awards. 2020 Jane Goodall: The Hope, biographical documentary film, National Geographic Studios, produced by Lucky 8 Panel discussions 2021 On 28 January 2021, Jane Goodall took part in a panel event of international experts called Climate Change: Why should we care?, organised by the Science Museum Group See also Animal Faith USC Jane Goodall Research Center Nonhuman Rights Project Dian Fossey, the trimate who studied gorillas until her murder Birutė Galdikas, the trimate who dedicated herself to orangutan study Steven M. Wise Washoe List of animal rights advocates Timeline of women in science References External links The Jane Goodall Institute official website Jane Goodall at Discover Magazine Jane Goodall interviewed by Alyssa McDonald in July 2010 for the New Statesman Jane Goodall – Overpopulation in the Developing World at Fora TV Lecture transcript and video of Goodall's speech at the Joan B. Kroc Institute for Peace & Justice at the University of San Diego, April 2008 Jane Goodall extended film interview with transcripts for the 'Why Are We Here?' documentary series. A Conversation with Jane Goodall (audio interview) "On Being" radio interview with Krista Tippett, broadcast August 2020 1934 births 20th-century anthropologists 20th-century British biologists 20th-century British women scientists 20th-century English scientists 21st-century anthropologists 21st-century British biologists 21st-century British women scientists 21st-century English scientists Living people Alumni of Newnham College, Cambridge Alumni of Darwin College, Cambridge Fellows of Darwin College, Cambridge Articles containing video clips Baronesses of the Netherlands Benjamin Franklin Medal (Franklin Institute) laureates British people of Welsh descent British women anthropologists Conservation biologists Dames Commander of the Order of the British Empire English anthropologists English cookbook writers English women biologists Ethologists Kyoto laureates in Basic Sciences Members of the European Academy of Sciences and Arts Members of the Society of Woman Geographers Officiers of the Légion d'honneur Recipients of the President's Medal (British Academy) Templeton Prize laureates People from Hampstead People involved in plagiarism controversies Primatologists Scientists from London Sustainability advocates United Nations Messengers of Peace University of Southern California faculty Vegan cookbook writers Veganism activists Women ethologists Women founders Writers about Africa
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[ "The Institute for Cognitive Science Studies (ICSS) (Persian: موسسه آموزش عالی علوم‌ شناختی) is a non-governmental institution in Tehran, Iran, committed to providing a research and educational environment that brings together the various disciplines that contribute to cognitive sciences.\n\nIn the process of studying cognition, ICSS pursues the following major objectives:\nDiscovery of important, unknown facts about key issues in cognitive science through quality experiments; understanding unresolved issues in cognitive science through provision of new, effective, analytical theories; identifying means of employing achievements in cognitive science to improve the quality of individual and social wellbeing\n\nThe prime interest of ICSS is to conduct research studies that enhance our knowledge and understanding of cognitive science. That objective requires the kind of theoretical, experimental, and applied studies, which would be beneficial not only in terms of employing these achievements in various aspects of life, but also in terms of advancing our scientific knowledge. The institute also adheres to the principle that research findings should be shared with other scientific communities through their publication in respectable peer-reviewed journals and books. To these ends, ICSS engages in a host of other activities. They include:\n Offering graduate studies programs\n Providing short-term training programs and workshops\n Organizing and supporting scientific conferences and discussion meetings\n Participating in international collaborations\n Publishing (or supporting the publication of) specialized books and journals\n Providing an effective research environment by means of modernizing and equipping its laboratories, and maintaining a resourceful library\n\nThe institute currently offers PhD and Master's degrees in the field of cognitive neuroscience.\n\nEducation in Tehran\nResearch institutes in Iran\nCognitive science research institutes\nHigher education in Iran", "The Consortium for the Management of Basic and Applied Research in Africa south of Sahara () or COMREFAS is an international multidisciplinary institution whose purpose is to structure and enhance the basic and applied research in Africa in the following scientific fields:\n\n Economics,\n Management Science,\n Public law,\n Private Law,\n Humanities,\n Arts,\n Social Sciences,\n Applied Science and Technology.\n\nHistory\n\nCreated in 2009 by the Network of Universities of Science and Technology of the Countries of Africa south of the Sahara (RUSTA), the COMREFAS is the research center common to all member institutions of the RUSTA (University of Science and Technology of Benin, University of Science and Technology of Togo, University of Science and Technology of Ivory Coast, Higher Institute of Technology of Ivory Coast, etc.).\n\nIts head office is located in Abidjan, the economic capital of Ivory Coast.\n\nMission\n\nThe COMREFAS's mission is to contribute to the development and enhancement of scientific research in the countries of Africa. This is part of a desire to unite the scientific community around a shared vision, challenging and promising future for African societies.\n\nTo do this, the COMREFAS promote :\n\n the academic and scientific cooperation,\n exchanges with organizations and institutions,\n dissemination of knowledge through scientific meetings,\n the training of doctoral students, etc.\n\nComponents\n\nThe COMREFAS consists of five research laboratories :\n\n Research Laboratory in Management of Organizations (LAREGO)\n Laboratory of Applied Studies and Research in Public and Private Law (LAREAD)\n Laboratory of Experimental Studies in Economics (LAEXSE)\n Multidisciplinary Laboratory Experiments in Social Sciences (LAPLESS)\n Multidisciplinary Research Laboratory Applied Science and Technologies (LAPRESTA)\n\nReferences\n\nExternal links\n Official website \n\nResearch institutes in Ivory Coast\nCollege and university associations and consortia in Africa\nOrganizations based in Abidjan\n2009 establishments in Ivory Coast" ]
[ "Roberto Mangabeira Unger", "Critique of economics" ]
C_4394d4b56e214b46866090707174a7e7_0
What does he have to say about economics?
1
What does Roberto Mangabeira Unger have to say about economics?
Roberto Mangabeira Unger
Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value. Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations. The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. CANNOTANSWER
Unger's critique of economics begins with the identification of a key moment in economic history,
Roberto Mangabeira Unger (; born 24 March 1947) is a Brazilian philosopher and politician. His work is in the tradition of classical social theory and pragmatism, and is developed across many fields including legal theory, philosophy and religion, social and political theory, progressive alternatives, and economics. In natural philosophy he is known for The Singular Universe and the Reality of Time. In social theory he is known for Politics: A Work in Constructive Social Theory. In legal theory he was part of the Critical Legal Studies movement, which helped disrupt the methodological consensus in American law schools. His political activity helped the transition to democracy in Brazil in the aftermath of the military regime, and culminated with his appointment as Brazil's Minister of Strategic Affairs in 2007 and again in 2015. His work is seen to offer a vision of humanity and a program to empower individuals and change institutions. At the core of his philosophy is a view of humanity as greater than the contexts in which it is placed. He sees each individual possessed with the capability to rise to a greater life. At the root of his social thought is the conviction that the social world is made and imagined. His work begins from the premise that no natural or necessary social, political, or economic arrangements underlie individual or social activity. Property rights, liberal democracy, wage labor—for Unger, these are all historical artifacts that have no necessary relation to the goals of free and prosperous human activity. For Unger, the market, the state, and human social organization should not be set in predetermined institutional arrangements, but need to be left open to experimentation and revision according to what works for the project of individual and collective empowerment. Doing so, he holds, will enable human liberation. Unger has long been active in Brazilian opposition politics. He was one of the founding members of the Brazilian Democratic Movement Party and drafted its manifesto. He directed the presidential campaigns of Leonel Brizola and Ciro Gomes, ran for the Chamber of Deputies, and twice launched exploratory bids for the Brazilian presidency. He served as the Minister of Strategic Affairs in the second Luiz Inácio Lula da Silva administration and in the second Dilma administration. Biography Family Unger's maternal grandfather was Octávio Mangabeira, who served as Brazil's minister of foreign affairs in the late 1920s before the dictatorship of Getúlio Vargas subjected him to a series of imprisonments and exiles in Europe and the United States. After returning to Brazil in 1945, he co-founded a center-left party. He was elected as a representative in the Câmara Federal in 1946, governor of Bahia in 1947, and Senator in 1958. Both of Unger's parents were intellectuals. His German-born father, Artur Unger, from Dresden, arrived in the United States as a child and later became a U.S. citizen. His mother, Edyla Mangabeira, was a Brazilian poet and journalist. Artur and Edyla met in the US during the exile of Octávio Mangabeira. Early life Roberto Mangabeira Unger was born in Rio de Janeiro in 1947, and spent his childhood on Manhattan's Upper East Side. He attended the private Allen-Stevenson School. When he was eleven, his father died and his mother moved the family back to Brazil. He attended a Jesuit school and went on to law school at the Federal University of Rio de Janeiro. Unger was admitted to Harvard Law School in September 1969. After receiving his LLM, Unger stayed at Harvard another year on a fellowship, and then entered the doctoral program. At 23 years old, Unger began teaching jurisprudence, among other things, to first year students. In 1976, aged 29, he got SJD and became one of the youngest faculty members to receive tenure from the Harvard Law School. Academic career The beginning of Unger's academic career began with the books Knowledge and Politics and Law in Modern Society, published in 1975 and 1976 respectively. These works led to the co-founding of Critical Legal Studies (CLS) with Duncan Kennedy and Morton Horwitz. The movement stirred up controversy in legal schools across America as it challenged standard legal scholarship and made radical proposals for legal education. By the early 1980s, the CLS movement touched off a heated internal debate at Harvard, pitting the CLS scholars against the older, more traditional scholars. Throughout much of the 1980s, Unger worked on his magnum opus, Politics: A Work In Constructive Social Theory, a three volume work that assessed classical social theory and developed a political, social, and economic alternative. The series is based on the premise of society as an artifact, and rejects the necessity of certain institutional arrangements. Published in 1987, Politics was foremost a critique of contemporary social theory and politics; it developed a theory of structural and ideological change, and gave an alternative account of world history. By first attacking the idea that there is a necessary progression from one set of institutional arrangements to another, e.g. feudalism to capitalism, it then built an anti-necessitarian theory of social change, theorizing the transition from one set of institutional arrangements to another. Unger devoted much of the following decades to further elaborating on the insights developed in Politics by working out the political and social alternatives. What Should Legal Analysis Become? (Verso, 1996) developed tools to reimagine the organization of social life. Democracy Realized: The Progressive Alternative (Verso, 1998) and What Should the Left Propose? (Verso, 2005) put forth alternative institutional proposals. Intellectual influences Unger's model of philosophical practice is closest to those philosophers who sought to form a view of the whole of reality, and to do so by using and resisting the specialized knowledge of their time. It has been read as a form of pragmatism, but also as an attempt to disengage ideas and experiences that developed in the West under the influence of Christianity from the categories of Greek philosophy. His thought has been called the inverse of Schopenhauer's philosophy, affirming the supreme value of life and the reality and depth of the self and eschewing fecklessness. Philosophical work Social theory Unger's social theory is premised on the idea of classical social theory that society is an artifact and can be created and recreated. Whereas previous thinkers such as Hegel or Marx backslid at some point and held onto the notion that there was a necessary institutional or historical social development, Unger, in the words of one critic, seeks to "take the idea to the hilt and produce a theory of emancipation that will escape the limitations of liberal and Marxist theories." That limitation is the search for an ideal structure of society that can be foreseen and centrally planned; whereas the emancipation leads to societies with greater institutional flexibility and variation. For Unger, society emerges not through compromise or the winnowing down of best options, but rather through conflict and struggle for control of political and material resources. The victors of this struggle come to set the terms of social interaction and transaction, which is then institutionalized through law. This emergent order Unger calls formative context. Under a particular formative context, routines are established and people come to believe and act as if their social words were coherent wholes that are perfectly intelligible and defensible. They come to see the existing arrangements as necessary. Unger calls this false necessity. In reality, these arrangements are arbitrary and hold together rather tenuously, which leaves them open to resistance and change. This opposition Unger calls negative capability. This leads Unger to the conclusion that change happens piecemeal through struggle and vision, rather than suddenly in revolutionary upheaval with the replacement of one set of institutional arrangements with another. Unger theorizes that cumulative change can alter formative contexts, and he goes on to propose a number of such changes as institutional alternatives to be implemented, which he calls Empowered democracy. Empowered democracy is Unger's vision of a more open and more plastic set of social institutions through which individuals and groups can interact, propose change, and effectively empower themselves to transform social, economic, and political structures. Unger's strategy in its realization is to combine freedom of commerce and governance at the local level with the ability of political parties at the central government level to promote radical social experiments that would bring about decisive change in social and political institutions. In practice, the theory would involve radical developments in politics at the center, as well as social innovation in localities. At the center, by bestowing wide ranging revising powers to those in office, it would give political parties the ability to try out concrete yet profound solutions and proposals. It would turn partisan conflicts over control and uses of governmental power into an opportunity to question and revise the basic arrangements of social life through a rapid resolution of political impasse. In local communities, empowered democracy would make capital and technology available through rotating capital funds, which would encourage entrepreneurship and innovation. Citizens' rights include individual entitlements to economic and civic security, conditional and temporary group claims to portions of social capital, and destabilization rights, which would empower individuals or groups to disrupt organizations and practices marred by routines of subjugation that normal politics have failed to disrupt. Unger's ideas developed in a context where young intellectuals and radicals attempted to reconcile the conventional theories of society and law being taught in university classrooms with the reality of social protest and revolution of the 1960s and 70s. Disillusioned with Marxism, they turned to thinkers like Levi-Strauss, Gramsci, Habermas, and Foucault in attempt to situate understandings of law and society as a benign science of technocratic policy within a broader system of beliefs that legitimized the prevailing social order. Unlike Habermas, however, who formulates procedures for attaining rational consensus, Unger locates resolution in institutions and their arrangements that remain perpetually open to revision and reconstruction. And, unlike Foucault, who also emphasizes the constructed character of social life, Unger takes this as an opportunity to reimagine institutions and social conditions that will unleash human creativity and enable liberation. Legal thought Unger's work on law has sought to denaturalize the concept of law and how it is represented through particular institutions. He begins by inquiring into why modern societies have legal systems with distinctions between institutions, such as legislature and court, as well as a special caste of lawyers possessing a method of reasoning about social problems. Whereas thinkers such as Marx and Weber had argued that such legal arrangements were a product of economic necessity to secure property rights and the autonomy of the individual, Unger shows that this liberal legal order emerged in Europe as a result of the indeterminate relations between monarchy, aristocracy, and bourgeoisie. It took the particular form that it did by emerging out of the long tradition of natural law and universality, rather than of necessity. This early work in historical analysis of law and legal thought laid the basis for Unger's contribution to the Critical Legal Studies movement. The movement itself was born in the late 1970s among young legal scholars at Harvard Law School who denounced the theoretical underpinnings of American jurisprudence, legal realism. The participants were committed to shaping society based on a vision of human personality without the hidden interests and class domination of legal institutions. Two tendencies of the movement developed, one, a radical indeterminacy that criticized law as meaning anything we want it to mean, and the other, a neo-Marxist critique that attacked legal thought as an institutional form of capitalism. Unger offered a third tendency, a constructive vision of rethinking rights based on individual emancipation and empowerment, and structural arrangements that would lend themselves to constant revision with the goal of creating more educational and economic opportunities for more people. He laid this out in The Critical Legal Studies Movement, which quickly earned him a following as the philosophical mentor and prophet of the movement. Economic thought At the center of Unger's thought about the economy is the commitment to reimagining and remaking the institutional arrangements of how humans produce and exchange. For Unger, economic institutions have no inherent or natural forms, and he rejects the necessitarian tendencies of classical and neo-classical economists, seeking instead alternatives to the arrangements of contemporary societies. In his writings, he has aimed to revise ideas on the importance of market economies and the division of labor in the workplace and national and global economies. Critique of economics Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value. Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations. The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. Reorientating economics Unger's vision of economics is that it cannot be unhinged from ideas about the individual and social life. Human activity and political organization must be incorporated into any analysis of trade and economies. In remaking the discipline, he calls for a return to the normative practice of classical economics but stripped of its necessitarian assumptions and typological references. The development of explanatory claims and prescriptive ideas are necessary. The discipline must connect the transformation of nature with that of society—the making of things with the reorganization of people. In Free Trade Reimagined: The World Division of Labor and the Method of Economics, he sets forth six ideas to begin thinking about economic activity. The problem of specialization and discovery. Competition comes to inhibit self transformation when trading partners are unequal but not radically unequal, for both are forced into cost cutting rather than innovating and increasing efficiency. The problem of politics over economics. The making and implementation of policy is not one of discovery, but rather of top down implementation. Rigid state control will limit how a society can respond to tensions and crisis, and thus politics creates its own presuppositions and limits creativity and alternative solutions. Free trade should strengthen the capacity for self transformation by organizing the trading regime in a way that strengthens the capacity of trading partners to experiment and innovate. It becomes question not of how much free trade, but what kind. The best arrangements are those that impose the least amount of restraint. Alternative free trade. The market has no necessary and natural form. If the market economy can be organized in a different way then so can a universal order of free trade among market economies. The division of labor remade. The pin factory organization of labor describes the organization of work as if labor were a machine. But we can make machines to do this work. We should then innovate in those areas where we don't yet know how to make the machine to do the work. Production should be one of collective learning and permanent innovation. Mind against context. The mind is both a machine and an anti-machine; it is both formulaic and totalizing. Thus we never rest in any context, and we need to have arrangements that constantly lend themselves to reinvention. Reconstructing economic institutions For Unger, the economy is not only a device for wealth but also permanent innovation and discovery. It should allow the greatest freedom of the recombination of people and resources, and allow people to innovate in institutional settings. The market economy should not be single dogmatic version of itself. Unger has presented a number of general institutional proposals that aim to restructure the world trade regime and introduce new alternatives in the market economy. For international and global trade, Unger calls for the need to experiment with different property rights regimes, where multiple forms will coexist in the same market system and not be tied to individual property rights and contractual labor. Generally, rather than maximizing the free trade as the goal, Unger sees the need to build and open the world economy in way that reconciles global openness with national and regional diversification, deviation, heresy, and experiment, where the idea is to support alternatives by making the world safer for them. For national economies, he rejects the need to require the free flow of capital, for there are times when it may be necessary to restrict capital flows. Rather, he puts the emphasis on the free flow of people. Labor should be allowed to move freely throughout the world. On the twenty-first-century economic stimulus Most recently, in a YouTube video titled he laid out three key policies to address the current economy: Change the arrangements of finance in relation to production so that finance is in the service of production. Tax and regulate to discourage finance that does not contribute to production. Use public capital for venture capital funds. Broaden economic opportunity by supporting small and medium enterprise. Reject the choice between government regulation and state controlled models. Support cooperation between government and firms, and cooperation and competition among firms. Education. A system of schools to meet needs of a vibrant and flexible economy. Vocational schools that teach general concepts and flexibility, not job-specific skills. "Illusions of necessity in the economic order" Unger's first writing on economic theory was the article "Illusions of necessity in the economic order" in the May 1978 issue of American Economic Review. In the article he makes a case for the need of contemporary economic thought to imitate classical political economy in which theories of exchange should be incorporated into theories of power and perception. The article articulates the problem of the American economy as one of the inability to realize democracy of production and community in the workplace. This failure, according to Unger, is the result of the lack of a comprehensive program that encompasses production, society, and state, so that immediate attempts to address inequality get swallowed up and appropriated by the status quo in the course of winning immediate gains for the organization or constituency, e.g. unions. To realize a democracy in the workplace and the abolition of wealth and poverty, Unger argues for the need to relate the program of worker community and democracy with an enlargement of democracy at the national level—the goal cannot be only one of economic production and worker's rights, but must be accompanied by a national project at the structural level. He pushes this idea further by calling not just for a restructuring of the relationship between the firm and state based on private property, but that it also has to be replaced with a new set of rights encompassing access to jobs, markets, and capital. Only as private rights are phased out can rights of decentralized decision making and market exchange be extended to workers. This needs to be accompanied by limits on the size of enterprise and how profits are used to control others' labor. Neoclassical economics is not up to this task because it begins with preconceived standards that it applies to explain empirical data, while leaving out that which is a theoretical anomaly; there is no causal basis of analysis, Unger says, rather everything is embedded in a timeless universal without any account for context. Furthermore, the ambiguity of concepts of maximization, efficiency, and rationalization pin the analysis to a certain notion of the behavior of the rationalizing individual, making the analysis either tautological or reduced to a set of power relations translated into the language of material exchange. Programmatic thought Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". The two Lefts Unger sees two main Lefts in the world today, a recalcitrant Left and a humanizing Left. The recalcitrant Left seeks to slow down the march of markets and globalization, and to return to a time of greater government involvement and stronger social programs. The humanizing Left (or 'reformist Left') accepts the world in its present form, taking the market economy and globalization as unavoidable, and attempts to humanize their effects through tax-and-transfer policies. Unger finds the two major orientations of contemporary Leftism inadequate and calls for a 'Reconstructive Left' – one which would insist on redirecting the course of globalization by reorganizing the market economy. In his two books The Left Alternative and The Future of American Progressivism, Unger lays out a program to democratize the market economy and deepen democracy. This Reconstructive Left would look beyond debates on the appropriate size of government, and instead re-envision the relationship between government and firms in the market economy by experimenting with the coexistence of different regimes of private and social property. It would be committed to social solidarity, but "would refuse to allow our moral interests in social cohesion [to] rest solely upon money transfers commanded by the state in the form of compensatory and retrospective redistribution", as is the case with federal entitlement programs. Instead, Unger's Reconstructive Left affirms "the principle that everyone should share, in some way and at some time, responsibility for taking care of other people." The Left Alternative program Unger has laid out concrete policy proposals in areas of economic development, education, civil society, and political democracy. On economic development, Unger has noted that there are only two models for a national economy available to us today: the US model of business control of government, and the northeast Asian model of top down bureaucratic control of the economy. Citing the need for greater imagination on the issue, he has offered a third model that is decentralized, pluralistic, participatory, and experimental. This would take the form of an economy encouraging small business development and innovation that would create large scale self-employment and cooperation. The emphasis is not on the protection of big business as the main sectors of the economy, but the highly mobile and innovative small firm. Unger links the development of such an economy to an education system that encourages creativity and empowers the mind, not one that he now sees geared for a reproduction of the family and to put the individual in service of the state. He proposes that such a system should be run locally but have standards enforced through national oversight, as well as a procedure in place to intervene in the case of the failing of local systems. Unger's critique of and alternative to social programs goes to the heart of civil society. The problem we are faced with now, he claims, is that we have a bureaucratic system of distribution that provides lower quality service and prohibits the involvement of civil society in the provision of public services. The alternative he lays out is to have the state act to equip civil society to partake in public services and care. This would entail empowering each individual to have two responsibilities, one in the productive economy and one in the caring economy. Unger's proposal for political democracy calls for a high energy system that diminishes the dependence of change upon crisis. This can be done, he claims, by breaking the constant threat of stasis and institutionalization of politics and parties through five institutional innovations. First, increase collective engagement through the public financing of campaigns and giving free access to media outlets. Second, hasten the pace of politics by breaking legislative deadlock through the enabling of the party in power to push through proposals and reforms, and for opposition parties to be able to dissolve the government and call for immediate elections. Third, the option of any segment of society to opt out of the political process and to propose alternative solutions for its own governance. Fourth, give the state the power to rescue oppressed groups that are unable to liberate themselves through collective action. Fifth, direct participatory democracy in which active engagement is not purely in terms of financial support and wealth distribution, but through which people are directly involved in their local and national affairs through proposal and action. Theoretical philosophy At the core of Unger's theoretical philosophy are two key conceptions: first the infinity of the individual, and secondly the singularity of the world and the reality of time. The premise behind the infinity of the individual is that we exist within social contexts but we are more than the roles that these contexts may define for us—we can overcome them. In Unger's terms, we are both "context-bound and context-transcending; "we appear as "the embodied spirit;" as "the infinite imprisoned within the finite." For Unger, there is no natural state of the individual and his social being. Rather, we are infinite in spirit and unbound in what we can become. As such, no social institution or convention can contain us. While institutions do exist and shape our beings and our interactions, we can change both their structure and the extent to which they imprison us. The philosophy of the singularity of the world and the reality of time establishes history as the site of decisive action through the propositions that there is only one real world, not multiple or simultaneous universes, and that time really exists in the world, not as a simulacrum through which we must experience the world. These two concepts of infinity and reality lie at the heart of Unger's program calling for metaphysical and institutional revolutions. From the concept of the self as infinite but constrained, Unger argues that we must continually transform our environment to better express ourselves. This can only be done in a singular world within which time is real. The self and human nature In Passion: An Essay on Personality, Unger explores the individual and his relation to society from the perspective of the root human predicament of the need to establish oneself as a unique individual in the world but at the same time to find commonality and solidarity with others. This exploration is grounded in what Unger calls a modernist image of the human being as one who lives in context but is not bound by context. Unger's aim is to level a critique, expansion, and defense of modern thinking about the human and society. Religion and the human condition Unger has written and spoken extensively on religion and the human condition. Religion, Unger argues, is a vision of the world within which we anchor our orientation to life. It is within this orientation that we deal with our greatest terrors and highest hopes. Because we are doomed to die, we hope for eternal life; because we are unable to grasp to totality of existence or of the universe, we try to dispel the mystery and provide a comprehensible explanation; because we have an insatiable desire, we cry for an object that is worthy of this desire, one that is infinite. Humans initially invested religious discourse in nature and the human susceptibility to nature. But as societies evolved and people developed ways to cope with the unpredictability of nature, the emphasis of religion shifted to social existence and its defects. A new moment in religion will begin, Unger argues, when we stop telling ourselves that all will be fine and we begin to face the incorrigible flaws in human existence. The future of religion lies in embracing our mortality and our groundlessness. Unger sees four flaws in the human condition. They are, our mortality and the facing of imminent death; our groundlessness in that we are unable to grasp the solution to the enigma of existence, see the beginning or end of time, nor put off the discovery of the meaning of life; our insatiability in that we always want more, and demand the infinite from the finite; and our susceptibility to belittlement which places us in a position to constantly confront petty routine forcing us to die many little deaths. There are three major responses in the history of human thought to these flaws: escape, humanization, and confrontation. The overcoming of the world denies the phenomenal world and its distinctions, including the individual. It proclaims a benevolence towards others and an indifference to suffering and change. One achieves serenity by becoming invulnerable to suffering and change. The religion of Buddhism and philosophical thought of Plato and Schopenhauer best represent this orientation. The humanization of the world creates meaning out of social interactions in a meaningless world by placing all emphasis on our reciprocal responsibility to one another. Confucianism and contemporary liberalism represent this strand of thought, both of which aim to soften the cruelties of the world. The struggle with the world is framed by the idea that series of personal and social transformations can increase our share of attributes associated with the divine and give us a larger life. It emphasizes love over altruism, rejecting the moral of the mastery of self-interest to enhance solidarity, and emphasizing the humility of individual love. This orientation has been articulated in two different voices: the sacred voice of Judaism, Christianity, and Islam, and the profane voice of the secular projects of liberation. The religion of the future The spiritual orientation of the struggle with the world has given rise to the secular movements of emancipation in the modern world, and it is here that Unger sees the religion of the future. The problem Unger sees, however, is that as an established religion, this orientation has betrayed its ideological underpinnings and has made peace with existing order. It has accepted the hierarchies of class structure in society, accepted the transfer of money as serving as the basis of solidarity, and reaffirmed the basis of existing political, economic, and social institutions by investing in a conservative position of their preservation. Thus, "to be faithful to what made this orientation persuasive and powerful in the first place, we must radicalize it against both established institutions and dominant beliefs." Unger's call is for a revolution in our religious beliefs that encompasses both individual transformation and institutional reorganization; to create change in the life of the individual as well as in the organization of society. The first part of the program of individual transformation means waking from the dazed state in which we live our lives, and recognizing our mortality and groundlessness without turning to the “feel-good theologies and philosophies”. The second part of the program of social transformation means supplementing the metaphysical revolution with institutional practices by creating social institutions that allow us to constantly overthrow our constraints and our context, and to make this overthrow not a one time event but a continuing process. This is the program of empowered democracy that calls for reforms in the market economy, education, politics, and civil society. "The goal is not to humanize society but to divinize humanity." It is "to raise ordinary life to a higher level of intensity and capability." Natural philosophy Unger's philosophy of space and time presented in The Singular Universe and the Reality of Time argues for the singularity of the world and the reality of time. His arguments are grounded in the tradition of natural philosophy. He takes on the Newtonian idea of the independent observer standing outside of time and space, addresses the skepticism of David Hume, rejects the position of Kant, and attacks speculations about parallel universes of contemporary cosmology. At stake is the laying of the foundations for a view of the world and causality that is open to all possibilities; that is not a closed system of options in which our future is governed by deterministic laws and typologies. It is an understanding of society that rejects the naturalness and necessity of current social arrangements; "a form of understanding of society and history that refuses to explain the present arrangements in a manner that vindicates their naturalness and necessity." The thesis of the singularity of the world states that there is one real world. Such a thesis stands in stark contrast to contemporary theoretical physics and cosmology, which speculate about multiple universes out of the dilemma of how to have law like explanations if the universe is unique—laws will be universal because they don't just apply to this unique universe but to all universes. However, there is no empirical evidence for multiple worlds. Unger's singularity thesis can better address our empirical observations and set the conceptual platform to address the four main puzzles in cosmology today: Big Bang, initial conditions, horizon problem, and the precise value of constants, such as gravity, speed of light, and Planck's constant. The thesis that time is real states that time "really is real" and everything is subject to history. This move is to historicize everything, even the laws of nature, and to challenge our acting as if time were real but not too real—we act as if it is somewhat real otherwise there would be no causal relations, but not so real that laws change. Unger holds that time is so real that laws of nature are also subject to its force and they too must change. There are no eternal laws upon which change occurs, rather time precedes structure. This position gives the universe a history and makes time non-emergent, global, irreversible, and continuous. Bringing these two thesis together, Unger theorizes that laws of nature develop together with the phenomenon they explain. Laws and initial conditions co-evolve, in the same that they do in how cells reproduce and mutate in different levels of complexity of organisms. In cosmological terms Unger explains the passing from one structure to another at the origins of the universe when the state of energy was high but not infinite, and the freedom of movement was greater than when operating under a known set of laws. The conditions of the early universe is compatible with the universe that preceded it. The new universe may be different in structure, but has been made with what existed in the old one, e.g. masses of elementary particles, strength of different forces, and cosmological constants. As the universe cools the phenomena and laws work together with materials produced by sequence; they are path dependent materials. They are also constrained by the family of resemblances of the effective laws against the background of the conceptions of alternative states the universe and succession of universes. Mathematics and the one real, time-drenched world One consequence of these positions that Unger points to is the revision of the concept and function of mathematics. If there is only one world drenched in time through and through, then mathematics cannot be a timeless expression of multiple universes that captures reality. Rather, Unger argues that mathematics is a means of analyzing the world removed of time and phenomenal distinction. By emptying the world of time and space it is able to better focus on one aspect of reality: the recurrence of certain ways in which pieces of the world relate to other pieces. Its subject matter are the structured wholes and bundles of relations, which we see outside mathematics only as embodied in the time-bound particulars of the manifest world. In this way, mathematics extends our problem solving powers as an extension of human insight, but it is not a part of the world. Political engagement Unger has a long history of political activity in Brazil. He worked in early opposition parties in the 1970s/80s against the Brazilian military dictatorship, and drafted the founding manifesto for the Brazilian Democratic Movement Party (PMDB) in 1980. He served as an intimate adviser to two presidential candidates, and launched exploratory bids himself in 2000 and 2006. He was the Secretary for Strategic Affairs in the Lula administration from 2007–09, and is currently working on a number of social and developmental projects in the state of Rondônia. Driving Unger's political engagement is the idea that society can be made and remade. Unlike Mill or Marx, who posited a particular class as the agent of history, Unger does not see a single vehicle for transformative politics. He advocates world-wide revolution, but does not see this happening as a single cataclysmic event or undertaken by a class agent, like the Communist movement. Rather, he sees the possibility of piecemeal change, where institutions can be replaced one at a time, and permanent plasticity can be built into the institutional infrastructure. Early political activity, 1970s and 1980s Unger's engagement in Brazilian politics began in the late 1970s as Brazil started to democratize. In 1979, he presented himself to the main opposition party, the Brazilian Democratic Movement (MDB), and was appointed chief of staff by party leader Ulysses Guimaraes. His initial work was to develop the positions of the party and draft policy proposals for their party's congressional representatives. When the military regime dissolved the two-party system and established a multi-party system later that year, Unger worked to unite progressive liberals and the independent, non-communist left into the Brazilian Democratic Movement Party (PMDB). As a co-founder of the party, he authored its first manifesto. Unger left the party after the rise of a conservative faction, which was a part of the MDB but had been excluded from the initial formation of the PMDB. After departing the PMDB in the early 1980s, Unger began looking for political agents who would serve as vehicles for his national alternative. In 1981, he jointed the Democratic Labour Party of Brazil (PDT) led by Leonel Brizola, a former governor of Rio de Janeiro and a figure of the left prior to the dictatorship. Brizola had founded the PDT and Unger saw it as the authentic opposition to the military regime. Throughout the 1980s he worked with Brizola to travel the country recruiting members, and developing policy positions and a political language. In 1983, Brizola, then serving his second of three terms as governor of Rio de Janeiro, appointed Unger to head the State Foundation for the Education of Minors (FEEM), a state-run foundation for homeless children. During his year-long tenure, he began a process of radical reforms of the institutions, such as opening the door to international adoption and reintegrating children with their families. He also set up community organizations in the slums to help support families in order to prevent the abandonment of children. Political campaigns, 1990s and 2000s In 1990, Unger ran a symbolic campaign for a seat in the national chamber of deputies. He had no money, no structure, and only campaigned for eight weeks. He ran on a platform of reforming the slums, and went around the slum neighborhoods giving lectures. He received 9,000 votes, just 1,000 votes short of winning the seat. None of the votes came from the slums, however. All his votes had come from the middle class, although he had never campaigned in those neighborhoods or to that constituency. Recalling the experience, Unger says "it was kind of absurd... I had no money, no staff, and I would go into these slums, alone, to hand out pamphlets, often to the local drug pushers." It is an experience that Unger cites as leading to his belief that the system and possibilities were much more open than he had previously imagined. Unger served as Brizola's campaign organizer and primary political adviser in his bids for the Brazilian Presidency in 1989 and 1994. In 1989, Brizola finished in third place, losing the second position, which would have qualified him for a runoff against Fernando Collor de Mello, by a very narrow margin to Luiz Inácio Lula da Silva. Brizola and Unger both supported Lula in the second round of the election, but Collor would go on to beat Lula and win the Presidency. Unger also helped organize the presidential bids of former finance minister and governor of Ceará, Ciro Gomes, in 1998 and 2002. In 1998, Gomes came in third place with 11% of the vote, and in 2002 he came in fourth place with 12% of the vote. Unger had written The Next Step: An Alternative to Neoliberalism with Gomes in 1996. At the national level in 2002, again in the second round of the election, Unger supported Lula who went on to defeat José Serra to win the Presidency. With the experience of supporting others who imploded politically, Unger discovered that, as he put it, he was committing "the classic mistake of the philosophers in politics, which is to try to find someone else to do the work." In 2000, he ran in the primaries for the mayor of Sao Paulo, but the PPS party leader suspended the primaries when it became clear that Unger would win the nomination and challenge party control. He launched an exploratory bid for the 2006 presidential election on the PRB ticket, but the party decided not to put forth its own candidate for the presidency and to support Lula of the PT. As Minister of Strategic Affairs in the Lula administration Unger found President Lula's first term to be conservative and riddled with scandal. He wrote articles calling Lula's administration "the most corrupt of Brazil's history" and called for his impeachment. Despite the criticism, many advisers to Lula insisted that he should invite Unger to join his administration. In June 2007, after winning his second term, Lula appointed Unger as head of the newly established Long-term Planning Secretariat (a post which would eventually be called The Minister of Strategic Affairs). Unger's work in office was an attempt to enact his program. Seeing the future in small enterprises and advocating a rotating capital fund that would function like a government run venture capital fund, he pushed for a rapid expansion of credit to smaller producers and a decentralized network of technical support centers that would help broaden the middle class from below. He further called for political solutions that would broaden access to production forces such as information technology, and for states to focus on equipping and monitoring civil society rather than trying to provide social services. Unger's specific projects while in office were focused on giving "ordinary men and women the instruments with which to render this vitality fertile and productive." He aimed to use state powers and resources to allow the majority of poor workers to "follow the path of the emergent vanguard". He developed a series of sectoral and regional initiatives that would prefigure the model of development based on the broadening of economic and educational opportunity by democratizing the market economy and restructuring civil society. Sectorally, Unger revamped the educational structure and rewrote labor laws. In education, he implemented a model of secondary education, where analytical problem-solving education was paired with technical education that focused on conceptual capabilities rather than job-specific skills. There are several hundred of these institutions today. He further drafted legislation to associate national, state and local jurisdictions into common bodies that could intervene when a local school system fell below the minimum acceptable threshold of quality and "fix it the way an independent administrator would fix a failing business under Chapter 11 bankruptcy." In labor, Unger worked with unions to write new labor laws designed to protect and organize temporary workers, subcontractors, and those working in the informal economy. Regionally, some of Unger's most influential work was the implementation of a developmental strategy for the Amazon that would be sustainable environmentally by making it socially inclusive. He drafted and passed legislation to regularize small-scale squatters on untitled land by giving them clear legal titles, which would create self-interest in preservation while granting them economic opportunity. Included in this law were protections against large scale land grabbers. Such legislation aimed to empower locals living on Amazonian land by giving them ownership rights and linking their interest in preserving it, rather than pillaging it as quickly as possible in the face of ambiguous ownership rights. This legislation passed and was put into law. Unger served in the administration for two years. On 26 June 2009, President Lula announced Unger would be leaving the government and returning to Harvard University. He later cited personal and political reasons for his early departure. Engagement outside Brazil Unger's attempts to develop global social, political, and economic alternatives have led him in episodic engagements in national debates around the world. His approach in these engagements recognizes that the problems facing contemporary societies are not distinct from nation to nation, and that general structural arrangements can first be implemented, which will allow for local innovation, flexibility, and development in social, economic, and political arenas. There is no institutional blueprint for Unger, however, only a direction that can be pointed to and general proposals that can be implemented to allow further institutional innovation and experimentation. Unger's guiding principle is that institutional flexibility needs to be built into the implemented system, and in this way a diversity of local experiments would take hold the world over. One of Unger's more promising engagements was the Latin American Alternative in the late 1990s. Unger and Mexican politician and political scientist Jorge Castañeda Gutman assembled an informal network of politicians and business leaders dedicated to redrawing the political map. The aim of the group was to provide a critique of neoliberalism coupled with a way forward in a distinct strategy and institutional model of development. They floated proposals such as guaranteeing every citizen "social rights" (e.g. education and a job), breaking up media oligopolies, and holding town meetings to help citizens supervise municipal spending. The group held a number of meetings over the years, which included Brazilian finance minister Ciro Gomes, Chilean senator Carlos Ominami, Argentinian politicians Dante Caputo and Rodolfo Terragno, and Mexican politician and future president Vicente Fox. The meetings resulted in a document entitled the "Buenos Aires Consensus" in 1997, which Castaneda called "the end of neoliberalism; of the Washington Consensus". This consensus was formally signed in 2003 by Argentinian President Néstor Kirchner and Brazilian President Lula da Silva. Other Latin American leaders who signed it included Fox, future president of Chile Ricardo Lagos, Mexican politician Cuauhtémoc Cárdenas, former vice president of Nicaragua Sergio Ramírez, future president of Argentina Fernando de la Rúa, and former Brazilian president Itamar Franco. During the 2008 US presidential campaign, Unger was in frequent contact with candidate Barack Obama via email and Blackberry. He has since become critical of the Obama administration, and called for the defeat of Obama in the 2012 election as a first step to remaking the Democratic party. Current engagement Unger's recent political work has focused on the north-western Brazilian state of Rondônia. He sees the human and natural resources of the state meeting all the conditions to serve as the vanguard of a new model of development for Brazil. Speaking to News Rondônia he said, "Rondônia is a state formed by a multitude of small and medium entrepreneurs together with the Brazilian government, and that is something truly unique in our country." He has been traveling the state giving public lectures and encouraging political discourse and engagement in localities. Working with governor João Aparecido Cahulla on development projects, Unger has outlined a series of important areas of focus. The first is to change the agricultural model from one of intensive farming to an industrialization of produces through the recuperation of degraded pastures, supply fertilizers and lime, and diversifying crops and livestock farming. The second key project is transforming education from rote learning to creative thinking and engagement. He helped open the School Teixeira in Porto Velho. Another ongoing project is the construction of a new educational center in accordance with his theory of pedagogical reform, where delinquents would be reintegrated into municipal life. Circumstance and influence Unger's philosophical work grapples with some of the most fundamental and enduring problems of human existence. It has been put into direct dialogue with Kant's moral law, and said to have provided one answer to Hume's Guillotine. Unger's analysis of liberalism and the philosophical program he builds around rethinking the individual has also inspired new thinking and approaches to psychiatry. In 1987, the Northwestern University Law Review devoted an issue to Unger's work, analysing his three volume publication Politics: A Work In Constructive Social Theory. Michael J. Perry, a professor of law at Northwestern University, praises Unger for producing a vast work of social theory that combines law, history, politics, and philosophy within a single narrative. Early reviewers of Politics questioned Unger's seeming predicament of criticizing a system of thought and its historical tradition without subjecting himself to the same critical gaze. "There is little acknowledgement that he himself is writing in a particular socio-historical context", wrote one reviewer, and another asked, "in what context Unger himself is situated and why that context itself is not offered up to the sledgehammer." Critics also balked at the lack of example or concrete vision of his social and political proposals. As one critic wrote, "it is difficult to imagine what Unger's argument would mean in practice", and that "he does not tell us what to make." Others have suggested that the lack of imagination of such readers is precisely what is at stake. Books Knowledge and Politics, Free Press, 1975. Law In Modern Society: Toward a Criticism of Social Theory, Free Press, 1976. Passion: An Essay on Personality, Free Press, 1986. The Critical Legal Studies Movement, Harvard University Press, 1986. Politics: A Work In Constructive Social Theory, Cambridge University Press, 1987, in 3 Vols: Vol 1 - False Necessity: Anti-Necessitarian Social Theory in the Service of Radical Democracy. Vol 2 - Social Theory: Its Situation and Its Task - A Critical Introduction to Politics: A Work in Constructive Social Theory. Vol 3 - Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success. What Should Legal Analysis Become?, Verso, 1996 Politics: The Central Texts, Theory Against Fate, Verso, 1997, with Cui Zhiyuan. Democracy Realized: The Progressive Alternative, Verso, 1998. The Future of American Progressivism: An Initiative for Political and Economic Reform, Beacon, 1998 - with Cornel West What Should the Left Propose?, Verso, 2006. The Self Awakened: Pragmatism Unbound, Harvard, 2007. Free Trade Reimagined: The World Division of Labor and the Method of Economics, Princeton University Press, 2007. The Left Alternative, Verso, 2009 (2nd edition to What Should the Left Propose?, Verso, 2006.). The Religion of the Future, Harvard, 2014. The Singular Universe and the Reality of Time, Cambridge University Press, 2014, with Lee Smolin. The Knowledge Economy, Verso, 2019. See also False necessity Formative context Negative capability Empowered democracy Structure and agency Passions References External links Roberto Unger's Harvard Homepage Links to Unger's works via his homepage An interview with Unger on the American Left Biographical articles about Roberto Unger Guggenheim Gives Fellowships for '76: Unger Gets Tenure, Too (The Harvard Crimson April 5, 1976) "The Passion of Roberto Unger" , Eyal Press, (Lingua Franca, March 1999) Carlos Castilho, "Brazil's Consigliere: Unger Leaves Lectern to Stand Behind the Throne." (World Paper, April 2000) Simon Romero, "Destination: São Paulo" (Metropolis, October 2000) This article is about São Paulo, Brazil, but it has a lengthy discussion of Unger's political activism there and many quotes from Unger. Meltzer Elected to American Academy of Arts and Sciences (HLS News May 13, 2004) (First of the Month, July 1, 2012) 1947 births 20th-century Brazilian male writers 20th-century Brazilian philosophers 20th-century economists 20th-century essayists 21st-century Brazilian male writers 21st-century economists 21st-century essayists 21st-century philosophers Analytic philosophers Anti-poverty advocates Brazilian activists Brazilian essayists Brazilian expatriate academics in the United States Brazilian people of German descent Brazilian social scientists Critical legal studies Cultural critics Epistemologists Ethicists Futurologists Government ministers of Brazil Harvard Law School alumni Harvard Law School faculty Living people Metaphilosophers Metaphysicians Moral philosophers Ontologists People from Rio de Janeiro (city) Philosophers of culture Philosophers of economics Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of law Philosophers of mathematics Philosophers of religion Philosophers of science Philosophers of social science Philosophers of technology Philosophy of life Philosophy of time Philosophy writers Political philosophers Politicians from Cambridge, Massachusetts Pragmatists Brazilian social commentators Social critics Social philosophers Social theories Theorists on Western civilization Writers about activism and social change Writers about globalization
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[ "\"Supply creates its own demand\" is the formulation of Say's law. The rejection of this doctrine is a central component of The General Theory of Employment, Interest and Money (1936) and a central tenet of Keynesian economics. See Principle of effective demand, which is an affirmative form of the negation of Say's law.\n\nKeynes's rejection of Say's law has on the whole been accepted within mainstream economics since the 1940s and 1950s in the neoclassical synthesis, but debate continues between Keynesian economists and neoclassical economists (see saltwater and freshwater economics).\n\nKeynes's interpretation is rejected by many economists as a misinterpretation or caricature of Say's law — see Say's law: Keynes vs. Say — and the advocacy of the phrase \"supply creates its own demand\" is today most associated with supply-side economics, which retorts that \"Keynes turned Say on his head and instead stated that 'demand creates its own supply'\".\n\nThe exact phrase \"supply creates its own demand\" does not appear to be found in the writings of classical economists; similar sentiments, though different wordings, appear in the work of John Stuart Mill (1848), whom Keynes credits and quotes, and his father, James Mill (1808), whom Keynes does not. See for more detailed information Kates (1998) Say's Law and the Keynesian Revolution: How Macroeconomic Theory Lost its Way..\n\nOther sources \nAnother source widely cited as a classical expression of the idea, and the original statement of Say's law in English, is by James Mill, in Commerce Defended (1808):\n\nKeynes does not cite a specific source for the phrase, and, as it does not appear to be found in the pre-Keynesian literature, some consider its ultimate origin a \"mystery\". The phrase \"supply creates its own demand\" appears earlier, in quotes, in a 1934 letter of Keynes, and has been suggested that the phrase was an oral tradition at Cambridge, in the circle of Joan Robinson, and that it may have derived from the following 1844 formulation by John Stuart Mill:\n\nReferences\n\nBibliography\n\nKeynesian economics\nDemand", "Surplus economics is the study of economics based upon the concept that economies operate on the basis of the production of a surplus over basic needs.\n\nEconomic Surplus\nBy economic surplus is meant all production which is not essential for the continuance of existence. That is to say, all production about which there is a choice as to whether or not it is produced. The economic surplus begins when an economy is first able to produce more than it needs to survive, a surplus to its essentials.\n\nAlternative definitions are:\n\n The difference between the value of a society's annual product and its socially necessary cost of production. (Davis, p.1)\n The range of economic freedom at its [society's] disposal, extent able to engage in socially discretionary spending that satisfies more than the basic needs of its producers. (Dawson & Foster in Davis, p.45)\n Income minus essential consumption requirements. (Lippit in Davis p.81)\n The difference between what a society can produce and what a society must produce to reproduce itself. (Standfield in Davis, p.131)\n\nSee also\n Economic surplus\n Scarcity rent\n Georgism\n\nReferences\n Monopoly capital: an essay on the American economic and social order, Paul A. Baran and Paul M. Sweezy\n The Economic surplus in advanced economies, John B. Davis (Ed)\n The economic surplus and neo-Marxism, Ron J. Stanfield\n\nFurther reading\n What is Surplus Economics? \n\nSchools of economic thought" ]
[ "Roberto Mangabeira Unger", "Critique of economics", "What does he have to say about economics?", "Unger's critique of economics begins with the identification of a key moment in economic history," ]
C_4394d4b56e214b46866090707174a7e7_0
What is the key moment?
2
What is the key moment in Roberto Mangabeira Unger's critique?
Roberto Mangabeira Unger
Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value. Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations. The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. CANNOTANSWER
the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity.
Roberto Mangabeira Unger (; born 24 March 1947) is a Brazilian philosopher and politician. His work is in the tradition of classical social theory and pragmatism, and is developed across many fields including legal theory, philosophy and religion, social and political theory, progressive alternatives, and economics. In natural philosophy he is known for The Singular Universe and the Reality of Time. In social theory he is known for Politics: A Work in Constructive Social Theory. In legal theory he was part of the Critical Legal Studies movement, which helped disrupt the methodological consensus in American law schools. His political activity helped the transition to democracy in Brazil in the aftermath of the military regime, and culminated with his appointment as Brazil's Minister of Strategic Affairs in 2007 and again in 2015. His work is seen to offer a vision of humanity and a program to empower individuals and change institutions. At the core of his philosophy is a view of humanity as greater than the contexts in which it is placed. He sees each individual possessed with the capability to rise to a greater life. At the root of his social thought is the conviction that the social world is made and imagined. His work begins from the premise that no natural or necessary social, political, or economic arrangements underlie individual or social activity. Property rights, liberal democracy, wage labor—for Unger, these are all historical artifacts that have no necessary relation to the goals of free and prosperous human activity. For Unger, the market, the state, and human social organization should not be set in predetermined institutional arrangements, but need to be left open to experimentation and revision according to what works for the project of individual and collective empowerment. Doing so, he holds, will enable human liberation. Unger has long been active in Brazilian opposition politics. He was one of the founding members of the Brazilian Democratic Movement Party and drafted its manifesto. He directed the presidential campaigns of Leonel Brizola and Ciro Gomes, ran for the Chamber of Deputies, and twice launched exploratory bids for the Brazilian presidency. He served as the Minister of Strategic Affairs in the second Luiz Inácio Lula da Silva administration and in the second Dilma administration. Biography Family Unger's maternal grandfather was Octávio Mangabeira, who served as Brazil's minister of foreign affairs in the late 1920s before the dictatorship of Getúlio Vargas subjected him to a series of imprisonments and exiles in Europe and the United States. After returning to Brazil in 1945, he co-founded a center-left party. He was elected as a representative in the Câmara Federal in 1946, governor of Bahia in 1947, and Senator in 1958. Both of Unger's parents were intellectuals. His German-born father, Artur Unger, from Dresden, arrived in the United States as a child and later became a U.S. citizen. His mother, Edyla Mangabeira, was a Brazilian poet and journalist. Artur and Edyla met in the US during the exile of Octávio Mangabeira. Early life Roberto Mangabeira Unger was born in Rio de Janeiro in 1947, and spent his childhood on Manhattan's Upper East Side. He attended the private Allen-Stevenson School. When he was eleven, his father died and his mother moved the family back to Brazil. He attended a Jesuit school and went on to law school at the Federal University of Rio de Janeiro. Unger was admitted to Harvard Law School in September 1969. After receiving his LLM, Unger stayed at Harvard another year on a fellowship, and then entered the doctoral program. At 23 years old, Unger began teaching jurisprudence, among other things, to first year students. In 1976, aged 29, he got SJD and became one of the youngest faculty members to receive tenure from the Harvard Law School. Academic career The beginning of Unger's academic career began with the books Knowledge and Politics and Law in Modern Society, published in 1975 and 1976 respectively. These works led to the co-founding of Critical Legal Studies (CLS) with Duncan Kennedy and Morton Horwitz. The movement stirred up controversy in legal schools across America as it challenged standard legal scholarship and made radical proposals for legal education. By the early 1980s, the CLS movement touched off a heated internal debate at Harvard, pitting the CLS scholars against the older, more traditional scholars. Throughout much of the 1980s, Unger worked on his magnum opus, Politics: A Work In Constructive Social Theory, a three volume work that assessed classical social theory and developed a political, social, and economic alternative. The series is based on the premise of society as an artifact, and rejects the necessity of certain institutional arrangements. Published in 1987, Politics was foremost a critique of contemporary social theory and politics; it developed a theory of structural and ideological change, and gave an alternative account of world history. By first attacking the idea that there is a necessary progression from one set of institutional arrangements to another, e.g. feudalism to capitalism, it then built an anti-necessitarian theory of social change, theorizing the transition from one set of institutional arrangements to another. Unger devoted much of the following decades to further elaborating on the insights developed in Politics by working out the political and social alternatives. What Should Legal Analysis Become? (Verso, 1996) developed tools to reimagine the organization of social life. Democracy Realized: The Progressive Alternative (Verso, 1998) and What Should the Left Propose? (Verso, 2005) put forth alternative institutional proposals. Intellectual influences Unger's model of philosophical practice is closest to those philosophers who sought to form a view of the whole of reality, and to do so by using and resisting the specialized knowledge of their time. It has been read as a form of pragmatism, but also as an attempt to disengage ideas and experiences that developed in the West under the influence of Christianity from the categories of Greek philosophy. His thought has been called the inverse of Schopenhauer's philosophy, affirming the supreme value of life and the reality and depth of the self and eschewing fecklessness. Philosophical work Social theory Unger's social theory is premised on the idea of classical social theory that society is an artifact and can be created and recreated. Whereas previous thinkers such as Hegel or Marx backslid at some point and held onto the notion that there was a necessary institutional or historical social development, Unger, in the words of one critic, seeks to "take the idea to the hilt and produce a theory of emancipation that will escape the limitations of liberal and Marxist theories." That limitation is the search for an ideal structure of society that can be foreseen and centrally planned; whereas the emancipation leads to societies with greater institutional flexibility and variation. For Unger, society emerges not through compromise or the winnowing down of best options, but rather through conflict and struggle for control of political and material resources. The victors of this struggle come to set the terms of social interaction and transaction, which is then institutionalized through law. This emergent order Unger calls formative context. Under a particular formative context, routines are established and people come to believe and act as if their social words were coherent wholes that are perfectly intelligible and defensible. They come to see the existing arrangements as necessary. Unger calls this false necessity. In reality, these arrangements are arbitrary and hold together rather tenuously, which leaves them open to resistance and change. This opposition Unger calls negative capability. This leads Unger to the conclusion that change happens piecemeal through struggle and vision, rather than suddenly in revolutionary upheaval with the replacement of one set of institutional arrangements with another. Unger theorizes that cumulative change can alter formative contexts, and he goes on to propose a number of such changes as institutional alternatives to be implemented, which he calls Empowered democracy. Empowered democracy is Unger's vision of a more open and more plastic set of social institutions through which individuals and groups can interact, propose change, and effectively empower themselves to transform social, economic, and political structures. Unger's strategy in its realization is to combine freedom of commerce and governance at the local level with the ability of political parties at the central government level to promote radical social experiments that would bring about decisive change in social and political institutions. In practice, the theory would involve radical developments in politics at the center, as well as social innovation in localities. At the center, by bestowing wide ranging revising powers to those in office, it would give political parties the ability to try out concrete yet profound solutions and proposals. It would turn partisan conflicts over control and uses of governmental power into an opportunity to question and revise the basic arrangements of social life through a rapid resolution of political impasse. In local communities, empowered democracy would make capital and technology available through rotating capital funds, which would encourage entrepreneurship and innovation. Citizens' rights include individual entitlements to economic and civic security, conditional and temporary group claims to portions of social capital, and destabilization rights, which would empower individuals or groups to disrupt organizations and practices marred by routines of subjugation that normal politics have failed to disrupt. Unger's ideas developed in a context where young intellectuals and radicals attempted to reconcile the conventional theories of society and law being taught in university classrooms with the reality of social protest and revolution of the 1960s and 70s. Disillusioned with Marxism, they turned to thinkers like Levi-Strauss, Gramsci, Habermas, and Foucault in attempt to situate understandings of law and society as a benign science of technocratic policy within a broader system of beliefs that legitimized the prevailing social order. Unlike Habermas, however, who formulates procedures for attaining rational consensus, Unger locates resolution in institutions and their arrangements that remain perpetually open to revision and reconstruction. And, unlike Foucault, who also emphasizes the constructed character of social life, Unger takes this as an opportunity to reimagine institutions and social conditions that will unleash human creativity and enable liberation. Legal thought Unger's work on law has sought to denaturalize the concept of law and how it is represented through particular institutions. He begins by inquiring into why modern societies have legal systems with distinctions between institutions, such as legislature and court, as well as a special caste of lawyers possessing a method of reasoning about social problems. Whereas thinkers such as Marx and Weber had argued that such legal arrangements were a product of economic necessity to secure property rights and the autonomy of the individual, Unger shows that this liberal legal order emerged in Europe as a result of the indeterminate relations between monarchy, aristocracy, and bourgeoisie. It took the particular form that it did by emerging out of the long tradition of natural law and universality, rather than of necessity. This early work in historical analysis of law and legal thought laid the basis for Unger's contribution to the Critical Legal Studies movement. The movement itself was born in the late 1970s among young legal scholars at Harvard Law School who denounced the theoretical underpinnings of American jurisprudence, legal realism. The participants were committed to shaping society based on a vision of human personality without the hidden interests and class domination of legal institutions. Two tendencies of the movement developed, one, a radical indeterminacy that criticized law as meaning anything we want it to mean, and the other, a neo-Marxist critique that attacked legal thought as an institutional form of capitalism. Unger offered a third tendency, a constructive vision of rethinking rights based on individual emancipation and empowerment, and structural arrangements that would lend themselves to constant revision with the goal of creating more educational and economic opportunities for more people. He laid this out in The Critical Legal Studies Movement, which quickly earned him a following as the philosophical mentor and prophet of the movement. Economic thought At the center of Unger's thought about the economy is the commitment to reimagining and remaking the institutional arrangements of how humans produce and exchange. For Unger, economic institutions have no inherent or natural forms, and he rejects the necessitarian tendencies of classical and neo-classical economists, seeking instead alternatives to the arrangements of contemporary societies. In his writings, he has aimed to revise ideas on the importance of market economies and the division of labor in the workplace and national and global economies. Critique of economics Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value. Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations. The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. Reorientating economics Unger's vision of economics is that it cannot be unhinged from ideas about the individual and social life. Human activity and political organization must be incorporated into any analysis of trade and economies. In remaking the discipline, he calls for a return to the normative practice of classical economics but stripped of its necessitarian assumptions and typological references. The development of explanatory claims and prescriptive ideas are necessary. The discipline must connect the transformation of nature with that of society—the making of things with the reorganization of people. In Free Trade Reimagined: The World Division of Labor and the Method of Economics, he sets forth six ideas to begin thinking about economic activity. The problem of specialization and discovery. Competition comes to inhibit self transformation when trading partners are unequal but not radically unequal, for both are forced into cost cutting rather than innovating and increasing efficiency. The problem of politics over economics. The making and implementation of policy is not one of discovery, but rather of top down implementation. Rigid state control will limit how a society can respond to tensions and crisis, and thus politics creates its own presuppositions and limits creativity and alternative solutions. Free trade should strengthen the capacity for self transformation by organizing the trading regime in a way that strengthens the capacity of trading partners to experiment and innovate. It becomes question not of how much free trade, but what kind. The best arrangements are those that impose the least amount of restraint. Alternative free trade. The market has no necessary and natural form. If the market economy can be organized in a different way then so can a universal order of free trade among market economies. The division of labor remade. The pin factory organization of labor describes the organization of work as if labor were a machine. But we can make machines to do this work. We should then innovate in those areas where we don't yet know how to make the machine to do the work. Production should be one of collective learning and permanent innovation. Mind against context. The mind is both a machine and an anti-machine; it is both formulaic and totalizing. Thus we never rest in any context, and we need to have arrangements that constantly lend themselves to reinvention. Reconstructing economic institutions For Unger, the economy is not only a device for wealth but also permanent innovation and discovery. It should allow the greatest freedom of the recombination of people and resources, and allow people to innovate in institutional settings. The market economy should not be single dogmatic version of itself. Unger has presented a number of general institutional proposals that aim to restructure the world trade regime and introduce new alternatives in the market economy. For international and global trade, Unger calls for the need to experiment with different property rights regimes, where multiple forms will coexist in the same market system and not be tied to individual property rights and contractual labor. Generally, rather than maximizing the free trade as the goal, Unger sees the need to build and open the world economy in way that reconciles global openness with national and regional diversification, deviation, heresy, and experiment, where the idea is to support alternatives by making the world safer for them. For national economies, he rejects the need to require the free flow of capital, for there are times when it may be necessary to restrict capital flows. Rather, he puts the emphasis on the free flow of people. Labor should be allowed to move freely throughout the world. On the twenty-first-century economic stimulus Most recently, in a YouTube video titled he laid out three key policies to address the current economy: Change the arrangements of finance in relation to production so that finance is in the service of production. Tax and regulate to discourage finance that does not contribute to production. Use public capital for venture capital funds. Broaden economic opportunity by supporting small and medium enterprise. Reject the choice between government regulation and state controlled models. Support cooperation between government and firms, and cooperation and competition among firms. Education. A system of schools to meet needs of a vibrant and flexible economy. Vocational schools that teach general concepts and flexibility, not job-specific skills. "Illusions of necessity in the economic order" Unger's first writing on economic theory was the article "Illusions of necessity in the economic order" in the May 1978 issue of American Economic Review. In the article he makes a case for the need of contemporary economic thought to imitate classical political economy in which theories of exchange should be incorporated into theories of power and perception. The article articulates the problem of the American economy as one of the inability to realize democracy of production and community in the workplace. This failure, according to Unger, is the result of the lack of a comprehensive program that encompasses production, society, and state, so that immediate attempts to address inequality get swallowed up and appropriated by the status quo in the course of winning immediate gains for the organization or constituency, e.g. unions. To realize a democracy in the workplace and the abolition of wealth and poverty, Unger argues for the need to relate the program of worker community and democracy with an enlargement of democracy at the national level—the goal cannot be only one of economic production and worker's rights, but must be accompanied by a national project at the structural level. He pushes this idea further by calling not just for a restructuring of the relationship between the firm and state based on private property, but that it also has to be replaced with a new set of rights encompassing access to jobs, markets, and capital. Only as private rights are phased out can rights of decentralized decision making and market exchange be extended to workers. This needs to be accompanied by limits on the size of enterprise and how profits are used to control others' labor. Neoclassical economics is not up to this task because it begins with preconceived standards that it applies to explain empirical data, while leaving out that which is a theoretical anomaly; there is no causal basis of analysis, Unger says, rather everything is embedded in a timeless universal without any account for context. Furthermore, the ambiguity of concepts of maximization, efficiency, and rationalization pin the analysis to a certain notion of the behavior of the rationalizing individual, making the analysis either tautological or reduced to a set of power relations translated into the language of material exchange. Programmatic thought Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". The two Lefts Unger sees two main Lefts in the world today, a recalcitrant Left and a humanizing Left. The recalcitrant Left seeks to slow down the march of markets and globalization, and to return to a time of greater government involvement and stronger social programs. The humanizing Left (or 'reformist Left') accepts the world in its present form, taking the market economy and globalization as unavoidable, and attempts to humanize their effects through tax-and-transfer policies. Unger finds the two major orientations of contemporary Leftism inadequate and calls for a 'Reconstructive Left' – one which would insist on redirecting the course of globalization by reorganizing the market economy. In his two books The Left Alternative and The Future of American Progressivism, Unger lays out a program to democratize the market economy and deepen democracy. This Reconstructive Left would look beyond debates on the appropriate size of government, and instead re-envision the relationship between government and firms in the market economy by experimenting with the coexistence of different regimes of private and social property. It would be committed to social solidarity, but "would refuse to allow our moral interests in social cohesion [to] rest solely upon money transfers commanded by the state in the form of compensatory and retrospective redistribution", as is the case with federal entitlement programs. Instead, Unger's Reconstructive Left affirms "the principle that everyone should share, in some way and at some time, responsibility for taking care of other people." The Left Alternative program Unger has laid out concrete policy proposals in areas of economic development, education, civil society, and political democracy. On economic development, Unger has noted that there are only two models for a national economy available to us today: the US model of business control of government, and the northeast Asian model of top down bureaucratic control of the economy. Citing the need for greater imagination on the issue, he has offered a third model that is decentralized, pluralistic, participatory, and experimental. This would take the form of an economy encouraging small business development and innovation that would create large scale self-employment and cooperation. The emphasis is not on the protection of big business as the main sectors of the economy, but the highly mobile and innovative small firm. Unger links the development of such an economy to an education system that encourages creativity and empowers the mind, not one that he now sees geared for a reproduction of the family and to put the individual in service of the state. He proposes that such a system should be run locally but have standards enforced through national oversight, as well as a procedure in place to intervene in the case of the failing of local systems. Unger's critique of and alternative to social programs goes to the heart of civil society. The problem we are faced with now, he claims, is that we have a bureaucratic system of distribution that provides lower quality service and prohibits the involvement of civil society in the provision of public services. The alternative he lays out is to have the state act to equip civil society to partake in public services and care. This would entail empowering each individual to have two responsibilities, one in the productive economy and one in the caring economy. Unger's proposal for political democracy calls for a high energy system that diminishes the dependence of change upon crisis. This can be done, he claims, by breaking the constant threat of stasis and institutionalization of politics and parties through five institutional innovations. First, increase collective engagement through the public financing of campaigns and giving free access to media outlets. Second, hasten the pace of politics by breaking legislative deadlock through the enabling of the party in power to push through proposals and reforms, and for opposition parties to be able to dissolve the government and call for immediate elections. Third, the option of any segment of society to opt out of the political process and to propose alternative solutions for its own governance. Fourth, give the state the power to rescue oppressed groups that are unable to liberate themselves through collective action. Fifth, direct participatory democracy in which active engagement is not purely in terms of financial support and wealth distribution, but through which people are directly involved in their local and national affairs through proposal and action. Theoretical philosophy At the core of Unger's theoretical philosophy are two key conceptions: first the infinity of the individual, and secondly the singularity of the world and the reality of time. The premise behind the infinity of the individual is that we exist within social contexts but we are more than the roles that these contexts may define for us—we can overcome them. In Unger's terms, we are both "context-bound and context-transcending; "we appear as "the embodied spirit;" as "the infinite imprisoned within the finite." For Unger, there is no natural state of the individual and his social being. Rather, we are infinite in spirit and unbound in what we can become. As such, no social institution or convention can contain us. While institutions do exist and shape our beings and our interactions, we can change both their structure and the extent to which they imprison us. The philosophy of the singularity of the world and the reality of time establishes history as the site of decisive action through the propositions that there is only one real world, not multiple or simultaneous universes, and that time really exists in the world, not as a simulacrum through which we must experience the world. These two concepts of infinity and reality lie at the heart of Unger's program calling for metaphysical and institutional revolutions. From the concept of the self as infinite but constrained, Unger argues that we must continually transform our environment to better express ourselves. This can only be done in a singular world within which time is real. The self and human nature In Passion: An Essay on Personality, Unger explores the individual and his relation to society from the perspective of the root human predicament of the need to establish oneself as a unique individual in the world but at the same time to find commonality and solidarity with others. This exploration is grounded in what Unger calls a modernist image of the human being as one who lives in context but is not bound by context. Unger's aim is to level a critique, expansion, and defense of modern thinking about the human and society. Religion and the human condition Unger has written and spoken extensively on religion and the human condition. Religion, Unger argues, is a vision of the world within which we anchor our orientation to life. It is within this orientation that we deal with our greatest terrors and highest hopes. Because we are doomed to die, we hope for eternal life; because we are unable to grasp to totality of existence or of the universe, we try to dispel the mystery and provide a comprehensible explanation; because we have an insatiable desire, we cry for an object that is worthy of this desire, one that is infinite. Humans initially invested religious discourse in nature and the human susceptibility to nature. But as societies evolved and people developed ways to cope with the unpredictability of nature, the emphasis of religion shifted to social existence and its defects. A new moment in religion will begin, Unger argues, when we stop telling ourselves that all will be fine and we begin to face the incorrigible flaws in human existence. The future of religion lies in embracing our mortality and our groundlessness. Unger sees four flaws in the human condition. They are, our mortality and the facing of imminent death; our groundlessness in that we are unable to grasp the solution to the enigma of existence, see the beginning or end of time, nor put off the discovery of the meaning of life; our insatiability in that we always want more, and demand the infinite from the finite; and our susceptibility to belittlement which places us in a position to constantly confront petty routine forcing us to die many little deaths. There are three major responses in the history of human thought to these flaws: escape, humanization, and confrontation. The overcoming of the world denies the phenomenal world and its distinctions, including the individual. It proclaims a benevolence towards others and an indifference to suffering and change. One achieves serenity by becoming invulnerable to suffering and change. The religion of Buddhism and philosophical thought of Plato and Schopenhauer best represent this orientation. The humanization of the world creates meaning out of social interactions in a meaningless world by placing all emphasis on our reciprocal responsibility to one another. Confucianism and contemporary liberalism represent this strand of thought, both of which aim to soften the cruelties of the world. The struggle with the world is framed by the idea that series of personal and social transformations can increase our share of attributes associated with the divine and give us a larger life. It emphasizes love over altruism, rejecting the moral of the mastery of self-interest to enhance solidarity, and emphasizing the humility of individual love. This orientation has been articulated in two different voices: the sacred voice of Judaism, Christianity, and Islam, and the profane voice of the secular projects of liberation. The religion of the future The spiritual orientation of the struggle with the world has given rise to the secular movements of emancipation in the modern world, and it is here that Unger sees the religion of the future. The problem Unger sees, however, is that as an established religion, this orientation has betrayed its ideological underpinnings and has made peace with existing order. It has accepted the hierarchies of class structure in society, accepted the transfer of money as serving as the basis of solidarity, and reaffirmed the basis of existing political, economic, and social institutions by investing in a conservative position of their preservation. Thus, "to be faithful to what made this orientation persuasive and powerful in the first place, we must radicalize it against both established institutions and dominant beliefs." Unger's call is for a revolution in our religious beliefs that encompasses both individual transformation and institutional reorganization; to create change in the life of the individual as well as in the organization of society. The first part of the program of individual transformation means waking from the dazed state in which we live our lives, and recognizing our mortality and groundlessness without turning to the “feel-good theologies and philosophies”. The second part of the program of social transformation means supplementing the metaphysical revolution with institutional practices by creating social institutions that allow us to constantly overthrow our constraints and our context, and to make this overthrow not a one time event but a continuing process. This is the program of empowered democracy that calls for reforms in the market economy, education, politics, and civil society. "The goal is not to humanize society but to divinize humanity." It is "to raise ordinary life to a higher level of intensity and capability." Natural philosophy Unger's philosophy of space and time presented in The Singular Universe and the Reality of Time argues for the singularity of the world and the reality of time. His arguments are grounded in the tradition of natural philosophy. He takes on the Newtonian idea of the independent observer standing outside of time and space, addresses the skepticism of David Hume, rejects the position of Kant, and attacks speculations about parallel universes of contemporary cosmology. At stake is the laying of the foundations for a view of the world and causality that is open to all possibilities; that is not a closed system of options in which our future is governed by deterministic laws and typologies. It is an understanding of society that rejects the naturalness and necessity of current social arrangements; "a form of understanding of society and history that refuses to explain the present arrangements in a manner that vindicates their naturalness and necessity." The thesis of the singularity of the world states that there is one real world. Such a thesis stands in stark contrast to contemporary theoretical physics and cosmology, which speculate about multiple universes out of the dilemma of how to have law like explanations if the universe is unique—laws will be universal because they don't just apply to this unique universe but to all universes. However, there is no empirical evidence for multiple worlds. Unger's singularity thesis can better address our empirical observations and set the conceptual platform to address the four main puzzles in cosmology today: Big Bang, initial conditions, horizon problem, and the precise value of constants, such as gravity, speed of light, and Planck's constant. The thesis that time is real states that time "really is real" and everything is subject to history. This move is to historicize everything, even the laws of nature, and to challenge our acting as if time were real but not too real—we act as if it is somewhat real otherwise there would be no causal relations, but not so real that laws change. Unger holds that time is so real that laws of nature are also subject to its force and they too must change. There are no eternal laws upon which change occurs, rather time precedes structure. This position gives the universe a history and makes time non-emergent, global, irreversible, and continuous. Bringing these two thesis together, Unger theorizes that laws of nature develop together with the phenomenon they explain. Laws and initial conditions co-evolve, in the same that they do in how cells reproduce and mutate in different levels of complexity of organisms. In cosmological terms Unger explains the passing from one structure to another at the origins of the universe when the state of energy was high but not infinite, and the freedom of movement was greater than when operating under a known set of laws. The conditions of the early universe is compatible with the universe that preceded it. The new universe may be different in structure, but has been made with what existed in the old one, e.g. masses of elementary particles, strength of different forces, and cosmological constants. As the universe cools the phenomena and laws work together with materials produced by sequence; they are path dependent materials. They are also constrained by the family of resemblances of the effective laws against the background of the conceptions of alternative states the universe and succession of universes. Mathematics and the one real, time-drenched world One consequence of these positions that Unger points to is the revision of the concept and function of mathematics. If there is only one world drenched in time through and through, then mathematics cannot be a timeless expression of multiple universes that captures reality. Rather, Unger argues that mathematics is a means of analyzing the world removed of time and phenomenal distinction. By emptying the world of time and space it is able to better focus on one aspect of reality: the recurrence of certain ways in which pieces of the world relate to other pieces. Its subject matter are the structured wholes and bundles of relations, which we see outside mathematics only as embodied in the time-bound particulars of the manifest world. In this way, mathematics extends our problem solving powers as an extension of human insight, but it is not a part of the world. Political engagement Unger has a long history of political activity in Brazil. He worked in early opposition parties in the 1970s/80s against the Brazilian military dictatorship, and drafted the founding manifesto for the Brazilian Democratic Movement Party (PMDB) in 1980. He served as an intimate adviser to two presidential candidates, and launched exploratory bids himself in 2000 and 2006. He was the Secretary for Strategic Affairs in the Lula administration from 2007–09, and is currently working on a number of social and developmental projects in the state of Rondônia. Driving Unger's political engagement is the idea that society can be made and remade. Unlike Mill or Marx, who posited a particular class as the agent of history, Unger does not see a single vehicle for transformative politics. He advocates world-wide revolution, but does not see this happening as a single cataclysmic event or undertaken by a class agent, like the Communist movement. Rather, he sees the possibility of piecemeal change, where institutions can be replaced one at a time, and permanent plasticity can be built into the institutional infrastructure. Early political activity, 1970s and 1980s Unger's engagement in Brazilian politics began in the late 1970s as Brazil started to democratize. In 1979, he presented himself to the main opposition party, the Brazilian Democratic Movement (MDB), and was appointed chief of staff by party leader Ulysses Guimaraes. His initial work was to develop the positions of the party and draft policy proposals for their party's congressional representatives. When the military regime dissolved the two-party system and established a multi-party system later that year, Unger worked to unite progressive liberals and the independent, non-communist left into the Brazilian Democratic Movement Party (PMDB). As a co-founder of the party, he authored its first manifesto. Unger left the party after the rise of a conservative faction, which was a part of the MDB but had been excluded from the initial formation of the PMDB. After departing the PMDB in the early 1980s, Unger began looking for political agents who would serve as vehicles for his national alternative. In 1981, he jointed the Democratic Labour Party of Brazil (PDT) led by Leonel Brizola, a former governor of Rio de Janeiro and a figure of the left prior to the dictatorship. Brizola had founded the PDT and Unger saw it as the authentic opposition to the military regime. Throughout the 1980s he worked with Brizola to travel the country recruiting members, and developing policy positions and a political language. In 1983, Brizola, then serving his second of three terms as governor of Rio de Janeiro, appointed Unger to head the State Foundation for the Education of Minors (FEEM), a state-run foundation for homeless children. During his year-long tenure, he began a process of radical reforms of the institutions, such as opening the door to international adoption and reintegrating children with their families. He also set up community organizations in the slums to help support families in order to prevent the abandonment of children. Political campaigns, 1990s and 2000s In 1990, Unger ran a symbolic campaign for a seat in the national chamber of deputies. He had no money, no structure, and only campaigned for eight weeks. He ran on a platform of reforming the slums, and went around the slum neighborhoods giving lectures. He received 9,000 votes, just 1,000 votes short of winning the seat. None of the votes came from the slums, however. All his votes had come from the middle class, although he had never campaigned in those neighborhoods or to that constituency. Recalling the experience, Unger says "it was kind of absurd... I had no money, no staff, and I would go into these slums, alone, to hand out pamphlets, often to the local drug pushers." It is an experience that Unger cites as leading to his belief that the system and possibilities were much more open than he had previously imagined. Unger served as Brizola's campaign organizer and primary political adviser in his bids for the Brazilian Presidency in 1989 and 1994. In 1989, Brizola finished in third place, losing the second position, which would have qualified him for a runoff against Fernando Collor de Mello, by a very narrow margin to Luiz Inácio Lula da Silva. Brizola and Unger both supported Lula in the second round of the election, but Collor would go on to beat Lula and win the Presidency. Unger also helped organize the presidential bids of former finance minister and governor of Ceará, Ciro Gomes, in 1998 and 2002. In 1998, Gomes came in third place with 11% of the vote, and in 2002 he came in fourth place with 12% of the vote. Unger had written The Next Step: An Alternative to Neoliberalism with Gomes in 1996. At the national level in 2002, again in the second round of the election, Unger supported Lula who went on to defeat José Serra to win the Presidency. With the experience of supporting others who imploded politically, Unger discovered that, as he put it, he was committing "the classic mistake of the philosophers in politics, which is to try to find someone else to do the work." In 2000, he ran in the primaries for the mayor of Sao Paulo, but the PPS party leader suspended the primaries when it became clear that Unger would win the nomination and challenge party control. He launched an exploratory bid for the 2006 presidential election on the PRB ticket, but the party decided not to put forth its own candidate for the presidency and to support Lula of the PT. As Minister of Strategic Affairs in the Lula administration Unger found President Lula's first term to be conservative and riddled with scandal. He wrote articles calling Lula's administration "the most corrupt of Brazil's history" and called for his impeachment. Despite the criticism, many advisers to Lula insisted that he should invite Unger to join his administration. In June 2007, after winning his second term, Lula appointed Unger as head of the newly established Long-term Planning Secretariat (a post which would eventually be called The Minister of Strategic Affairs). Unger's work in office was an attempt to enact his program. Seeing the future in small enterprises and advocating a rotating capital fund that would function like a government run venture capital fund, he pushed for a rapid expansion of credit to smaller producers and a decentralized network of technical support centers that would help broaden the middle class from below. He further called for political solutions that would broaden access to production forces such as information technology, and for states to focus on equipping and monitoring civil society rather than trying to provide social services. Unger's specific projects while in office were focused on giving "ordinary men and women the instruments with which to render this vitality fertile and productive." He aimed to use state powers and resources to allow the majority of poor workers to "follow the path of the emergent vanguard". He developed a series of sectoral and regional initiatives that would prefigure the model of development based on the broadening of economic and educational opportunity by democratizing the market economy and restructuring civil society. Sectorally, Unger revamped the educational structure and rewrote labor laws. In education, he implemented a model of secondary education, where analytical problem-solving education was paired with technical education that focused on conceptual capabilities rather than job-specific skills. There are several hundred of these institutions today. He further drafted legislation to associate national, state and local jurisdictions into common bodies that could intervene when a local school system fell below the minimum acceptable threshold of quality and "fix it the way an independent administrator would fix a failing business under Chapter 11 bankruptcy." In labor, Unger worked with unions to write new labor laws designed to protect and organize temporary workers, subcontractors, and those working in the informal economy. Regionally, some of Unger's most influential work was the implementation of a developmental strategy for the Amazon that would be sustainable environmentally by making it socially inclusive. He drafted and passed legislation to regularize small-scale squatters on untitled land by giving them clear legal titles, which would create self-interest in preservation while granting them economic opportunity. Included in this law were protections against large scale land grabbers. Such legislation aimed to empower locals living on Amazonian land by giving them ownership rights and linking their interest in preserving it, rather than pillaging it as quickly as possible in the face of ambiguous ownership rights. This legislation passed and was put into law. Unger served in the administration for two years. On 26 June 2009, President Lula announced Unger would be leaving the government and returning to Harvard University. He later cited personal and political reasons for his early departure. Engagement outside Brazil Unger's attempts to develop global social, political, and economic alternatives have led him in episodic engagements in national debates around the world. His approach in these engagements recognizes that the problems facing contemporary societies are not distinct from nation to nation, and that general structural arrangements can first be implemented, which will allow for local innovation, flexibility, and development in social, economic, and political arenas. There is no institutional blueprint for Unger, however, only a direction that can be pointed to and general proposals that can be implemented to allow further institutional innovation and experimentation. Unger's guiding principle is that institutional flexibility needs to be built into the implemented system, and in this way a diversity of local experiments would take hold the world over. One of Unger's more promising engagements was the Latin American Alternative in the late 1990s. Unger and Mexican politician and political scientist Jorge Castañeda Gutman assembled an informal network of politicians and business leaders dedicated to redrawing the political map. The aim of the group was to provide a critique of neoliberalism coupled with a way forward in a distinct strategy and institutional model of development. They floated proposals such as guaranteeing every citizen "social rights" (e.g. education and a job), breaking up media oligopolies, and holding town meetings to help citizens supervise municipal spending. The group held a number of meetings over the years, which included Brazilian finance minister Ciro Gomes, Chilean senator Carlos Ominami, Argentinian politicians Dante Caputo and Rodolfo Terragno, and Mexican politician and future president Vicente Fox. The meetings resulted in a document entitled the "Buenos Aires Consensus" in 1997, which Castaneda called "the end of neoliberalism; of the Washington Consensus". This consensus was formally signed in 2003 by Argentinian President Néstor Kirchner and Brazilian President Lula da Silva. Other Latin American leaders who signed it included Fox, future president of Chile Ricardo Lagos, Mexican politician Cuauhtémoc Cárdenas, former vice president of Nicaragua Sergio Ramírez, future president of Argentina Fernando de la Rúa, and former Brazilian president Itamar Franco. During the 2008 US presidential campaign, Unger was in frequent contact with candidate Barack Obama via email and Blackberry. He has since become critical of the Obama administration, and called for the defeat of Obama in the 2012 election as a first step to remaking the Democratic party. Current engagement Unger's recent political work has focused on the north-western Brazilian state of Rondônia. He sees the human and natural resources of the state meeting all the conditions to serve as the vanguard of a new model of development for Brazil. Speaking to News Rondônia he said, "Rondônia is a state formed by a multitude of small and medium entrepreneurs together with the Brazilian government, and that is something truly unique in our country." He has been traveling the state giving public lectures and encouraging political discourse and engagement in localities. Working with governor João Aparecido Cahulla on development projects, Unger has outlined a series of important areas of focus. The first is to change the agricultural model from one of intensive farming to an industrialization of produces through the recuperation of degraded pastures, supply fertilizers and lime, and diversifying crops and livestock farming. The second key project is transforming education from rote learning to creative thinking and engagement. He helped open the School Teixeira in Porto Velho. Another ongoing project is the construction of a new educational center in accordance with his theory of pedagogical reform, where delinquents would be reintegrated into municipal life. Circumstance and influence Unger's philosophical work grapples with some of the most fundamental and enduring problems of human existence. It has been put into direct dialogue with Kant's moral law, and said to have provided one answer to Hume's Guillotine. Unger's analysis of liberalism and the philosophical program he builds around rethinking the individual has also inspired new thinking and approaches to psychiatry. In 1987, the Northwestern University Law Review devoted an issue to Unger's work, analysing his three volume publication Politics: A Work In Constructive Social Theory. Michael J. Perry, a professor of law at Northwestern University, praises Unger for producing a vast work of social theory that combines law, history, politics, and philosophy within a single narrative. Early reviewers of Politics questioned Unger's seeming predicament of criticizing a system of thought and its historical tradition without subjecting himself to the same critical gaze. "There is little acknowledgement that he himself is writing in a particular socio-historical context", wrote one reviewer, and another asked, "in what context Unger himself is situated and why that context itself is not offered up to the sledgehammer." Critics also balked at the lack of example or concrete vision of his social and political proposals. As one critic wrote, "it is difficult to imagine what Unger's argument would mean in practice", and that "he does not tell us what to make." Others have suggested that the lack of imagination of such readers is precisely what is at stake. Books Knowledge and Politics, Free Press, 1975. Law In Modern Society: Toward a Criticism of Social Theory, Free Press, 1976. Passion: An Essay on Personality, Free Press, 1986. The Critical Legal Studies Movement, Harvard University Press, 1986. Politics: A Work In Constructive Social Theory, Cambridge University Press, 1987, in 3 Vols: Vol 1 - False Necessity: Anti-Necessitarian Social Theory in the Service of Radical Democracy. Vol 2 - Social Theory: Its Situation and Its Task - A Critical Introduction to Politics: A Work in Constructive Social Theory. Vol 3 - Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success. What Should Legal Analysis Become?, Verso, 1996 Politics: The Central Texts, Theory Against Fate, Verso, 1997, with Cui Zhiyuan. Democracy Realized: The Progressive Alternative, Verso, 1998. The Future of American Progressivism: An Initiative for Political and Economic Reform, Beacon, 1998 - with Cornel West What Should the Left Propose?, Verso, 2006. The Self Awakened: Pragmatism Unbound, Harvard, 2007. Free Trade Reimagined: The World Division of Labor and the Method of Economics, Princeton University Press, 2007. The Left Alternative, Verso, 2009 (2nd edition to What Should the Left Propose?, Verso, 2006.). The Religion of the Future, Harvard, 2014. The Singular Universe and the Reality of Time, Cambridge University Press, 2014, with Lee Smolin. The Knowledge Economy, Verso, 2019. See also False necessity Formative context Negative capability Empowered democracy Structure and agency Passions References External links Roberto Unger's Harvard Homepage Links to Unger's works via his homepage An interview with Unger on the American Left Biographical articles about Roberto Unger Guggenheim Gives Fellowships for '76: Unger Gets Tenure, Too (The Harvard Crimson April 5, 1976) "The Passion of Roberto Unger" , Eyal Press, (Lingua Franca, March 1999) Carlos Castilho, "Brazil's Consigliere: Unger Leaves Lectern to Stand Behind the Throne." (World Paper, April 2000) Simon Romero, "Destination: São Paulo" (Metropolis, October 2000) This article is about São Paulo, Brazil, but it has a lengthy discussion of Unger's political activism there and many quotes from Unger. Meltzer Elected to American Academy of Arts and Sciences (HLS News May 13, 2004) (First of the Month, July 1, 2012) 1947 births 20th-century Brazilian male writers 20th-century Brazilian philosophers 20th-century economists 20th-century essayists 21st-century Brazilian male writers 21st-century economists 21st-century essayists 21st-century philosophers Analytic philosophers Anti-poverty advocates Brazilian activists Brazilian essayists Brazilian expatriate academics in the United States Brazilian people of German descent Brazilian social scientists Critical legal studies Cultural critics Epistemologists Ethicists Futurologists Government ministers of Brazil Harvard Law School alumni Harvard Law School faculty Living people Metaphilosophers Metaphysicians Moral philosophers Ontologists People from Rio de Janeiro (city) Philosophers of culture Philosophers of economics Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of law Philosophers of mathematics Philosophers of religion Philosophers of science Philosophers of social science Philosophers of technology Philosophy of life Philosophy of time Philosophy writers Political philosophers Politicians from Cambridge, Massachusetts Pragmatists Brazilian social commentators Social critics Social philosophers Social theories Theorists on Western civilization Writers about activism and social change Writers about globalization
true
[ "Explorative strategies are used in drama to explore a theme or a text. They are associated with Edexcel GCSE.\n\nTypes of strategies\n Forum Theatre - The actors either create a planned improvisation or create a piece spontaneously, as it is performed the audience can either stop the action to suggest changes or take over from the actors on stage to change the direction of the performance. Quite often this is used as an exploration tool rather than as a piece of theatre for performance. A theme or key moment/decision can be explored to its fullest.\nThought Tracking - Whilst in role, the character speaks out to the audience about what that character is thinking, feeling, doing etc.\nStill Image - Also known as a \"freeze frame\" or \"tableau\" or \"snapshot\" or \"qais\", this is when all the characters on stage stop still. Can be used if a narrator wishes to speak to the audience whilst something is happening on stage.\nHot Seating - A character is interrogated by the audience. Normally used as an \"in class\" activity, this allows the audience to find things out about a character, and requires the actor playing the character to think about what he/she is doing, feeling, etc.\nCross Cutting - When time in a scene changes to show what happens before or after a scene.\nNarrating - A character, normally called the \"Narrator\", will speak out to the audience about what is going on in the plot\nMarking the moment - Key moments in the performance are highlighted either through a freeze frame, or a change in light or some sound by using slow motion, noises etc..\nRole-play - A role-play is what you do when you're pretending to be another person and using your imagination to speak, think and even feel like that character.\n\nSee also\n Acting\n Alternative theatre\n Black light theatre\n Culinary theatre\n Illusionistic tradition\n List of theatre personnel\n\nReferences \n\nDrama", "Hinton is a village in South Gloucestershire, England. It is one mile north of Dyrham and forms part of the civil parish of Dyrham and Hinton.\nThe Bull is the local pub.\n\nBattle of Deorham\nThe Battle of Deorham (577 C.E.) was fought between West Saxons and Britons on Hinton Hill to the east of the village. It was a key moment in the isolation (on land, at least) of the Britons of the South West Peninsula from the Britons of what would become Wales.\n\nReferences\n\nExternal links\n\nVillages in South Gloucestershire District" ]
[ "Roberto Mangabeira Unger", "Critique of economics", "What does he have to say about economics?", "Unger's critique of economics begins with the identification of a key moment in economic history,", "What is the key moment?", "the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity." ]
C_4394d4b56e214b46866090707174a7e7_0
Are there any other interesting aspects about this article?
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In addition to Roberto Mangabeira Unger's critique, is there any other interesting aspects about this article?
Roberto Mangabeira Unger
Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value. Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations. The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. CANNOTANSWER
In Unger's analysis, classical economics focused on the causal relations among social activities,
Roberto Mangabeira Unger (; born 24 March 1947) is a Brazilian philosopher and politician. His work is in the tradition of classical social theory and pragmatism, and is developed across many fields including legal theory, philosophy and religion, social and political theory, progressive alternatives, and economics. In natural philosophy he is known for The Singular Universe and the Reality of Time. In social theory he is known for Politics: A Work in Constructive Social Theory. In legal theory he was part of the Critical Legal Studies movement, which helped disrupt the methodological consensus in American law schools. His political activity helped the transition to democracy in Brazil in the aftermath of the military regime, and culminated with his appointment as Brazil's Minister of Strategic Affairs in 2007 and again in 2015. His work is seen to offer a vision of humanity and a program to empower individuals and change institutions. At the core of his philosophy is a view of humanity as greater than the contexts in which it is placed. He sees each individual possessed with the capability to rise to a greater life. At the root of his social thought is the conviction that the social world is made and imagined. His work begins from the premise that no natural or necessary social, political, or economic arrangements underlie individual or social activity. Property rights, liberal democracy, wage labor—for Unger, these are all historical artifacts that have no necessary relation to the goals of free and prosperous human activity. For Unger, the market, the state, and human social organization should not be set in predetermined institutional arrangements, but need to be left open to experimentation and revision according to what works for the project of individual and collective empowerment. Doing so, he holds, will enable human liberation. Unger has long been active in Brazilian opposition politics. He was one of the founding members of the Brazilian Democratic Movement Party and drafted its manifesto. He directed the presidential campaigns of Leonel Brizola and Ciro Gomes, ran for the Chamber of Deputies, and twice launched exploratory bids for the Brazilian presidency. He served as the Minister of Strategic Affairs in the second Luiz Inácio Lula da Silva administration and in the second Dilma administration. Biography Family Unger's maternal grandfather was Octávio Mangabeira, who served as Brazil's minister of foreign affairs in the late 1920s before the dictatorship of Getúlio Vargas subjected him to a series of imprisonments and exiles in Europe and the United States. After returning to Brazil in 1945, he co-founded a center-left party. He was elected as a representative in the Câmara Federal in 1946, governor of Bahia in 1947, and Senator in 1958. Both of Unger's parents were intellectuals. His German-born father, Artur Unger, from Dresden, arrived in the United States as a child and later became a U.S. citizen. His mother, Edyla Mangabeira, was a Brazilian poet and journalist. Artur and Edyla met in the US during the exile of Octávio Mangabeira. Early life Roberto Mangabeira Unger was born in Rio de Janeiro in 1947, and spent his childhood on Manhattan's Upper East Side. He attended the private Allen-Stevenson School. When he was eleven, his father died and his mother moved the family back to Brazil. He attended a Jesuit school and went on to law school at the Federal University of Rio de Janeiro. Unger was admitted to Harvard Law School in September 1969. After receiving his LLM, Unger stayed at Harvard another year on a fellowship, and then entered the doctoral program. At 23 years old, Unger began teaching jurisprudence, among other things, to first year students. In 1976, aged 29, he got SJD and became one of the youngest faculty members to receive tenure from the Harvard Law School. Academic career The beginning of Unger's academic career began with the books Knowledge and Politics and Law in Modern Society, published in 1975 and 1976 respectively. These works led to the co-founding of Critical Legal Studies (CLS) with Duncan Kennedy and Morton Horwitz. The movement stirred up controversy in legal schools across America as it challenged standard legal scholarship and made radical proposals for legal education. By the early 1980s, the CLS movement touched off a heated internal debate at Harvard, pitting the CLS scholars against the older, more traditional scholars. Throughout much of the 1980s, Unger worked on his magnum opus, Politics: A Work In Constructive Social Theory, a three volume work that assessed classical social theory and developed a political, social, and economic alternative. The series is based on the premise of society as an artifact, and rejects the necessity of certain institutional arrangements. Published in 1987, Politics was foremost a critique of contemporary social theory and politics; it developed a theory of structural and ideological change, and gave an alternative account of world history. By first attacking the idea that there is a necessary progression from one set of institutional arrangements to another, e.g. feudalism to capitalism, it then built an anti-necessitarian theory of social change, theorizing the transition from one set of institutional arrangements to another. Unger devoted much of the following decades to further elaborating on the insights developed in Politics by working out the political and social alternatives. What Should Legal Analysis Become? (Verso, 1996) developed tools to reimagine the organization of social life. Democracy Realized: The Progressive Alternative (Verso, 1998) and What Should the Left Propose? (Verso, 2005) put forth alternative institutional proposals. Intellectual influences Unger's model of philosophical practice is closest to those philosophers who sought to form a view of the whole of reality, and to do so by using and resisting the specialized knowledge of their time. It has been read as a form of pragmatism, but also as an attempt to disengage ideas and experiences that developed in the West under the influence of Christianity from the categories of Greek philosophy. His thought has been called the inverse of Schopenhauer's philosophy, affirming the supreme value of life and the reality and depth of the self and eschewing fecklessness. Philosophical work Social theory Unger's social theory is premised on the idea of classical social theory that society is an artifact and can be created and recreated. Whereas previous thinkers such as Hegel or Marx backslid at some point and held onto the notion that there was a necessary institutional or historical social development, Unger, in the words of one critic, seeks to "take the idea to the hilt and produce a theory of emancipation that will escape the limitations of liberal and Marxist theories." That limitation is the search for an ideal structure of society that can be foreseen and centrally planned; whereas the emancipation leads to societies with greater institutional flexibility and variation. For Unger, society emerges not through compromise or the winnowing down of best options, but rather through conflict and struggle for control of political and material resources. The victors of this struggle come to set the terms of social interaction and transaction, which is then institutionalized through law. This emergent order Unger calls formative context. Under a particular formative context, routines are established and people come to believe and act as if their social words were coherent wholes that are perfectly intelligible and defensible. They come to see the existing arrangements as necessary. Unger calls this false necessity. In reality, these arrangements are arbitrary and hold together rather tenuously, which leaves them open to resistance and change. This opposition Unger calls negative capability. This leads Unger to the conclusion that change happens piecemeal through struggle and vision, rather than suddenly in revolutionary upheaval with the replacement of one set of institutional arrangements with another. Unger theorizes that cumulative change can alter formative contexts, and he goes on to propose a number of such changes as institutional alternatives to be implemented, which he calls Empowered democracy. Empowered democracy is Unger's vision of a more open and more plastic set of social institutions through which individuals and groups can interact, propose change, and effectively empower themselves to transform social, economic, and political structures. Unger's strategy in its realization is to combine freedom of commerce and governance at the local level with the ability of political parties at the central government level to promote radical social experiments that would bring about decisive change in social and political institutions. In practice, the theory would involve radical developments in politics at the center, as well as social innovation in localities. At the center, by bestowing wide ranging revising powers to those in office, it would give political parties the ability to try out concrete yet profound solutions and proposals. It would turn partisan conflicts over control and uses of governmental power into an opportunity to question and revise the basic arrangements of social life through a rapid resolution of political impasse. In local communities, empowered democracy would make capital and technology available through rotating capital funds, which would encourage entrepreneurship and innovation. Citizens' rights include individual entitlements to economic and civic security, conditional and temporary group claims to portions of social capital, and destabilization rights, which would empower individuals or groups to disrupt organizations and practices marred by routines of subjugation that normal politics have failed to disrupt. Unger's ideas developed in a context where young intellectuals and radicals attempted to reconcile the conventional theories of society and law being taught in university classrooms with the reality of social protest and revolution of the 1960s and 70s. Disillusioned with Marxism, they turned to thinkers like Levi-Strauss, Gramsci, Habermas, and Foucault in attempt to situate understandings of law and society as a benign science of technocratic policy within a broader system of beliefs that legitimized the prevailing social order. Unlike Habermas, however, who formulates procedures for attaining rational consensus, Unger locates resolution in institutions and their arrangements that remain perpetually open to revision and reconstruction. And, unlike Foucault, who also emphasizes the constructed character of social life, Unger takes this as an opportunity to reimagine institutions and social conditions that will unleash human creativity and enable liberation. Legal thought Unger's work on law has sought to denaturalize the concept of law and how it is represented through particular institutions. He begins by inquiring into why modern societies have legal systems with distinctions between institutions, such as legislature and court, as well as a special caste of lawyers possessing a method of reasoning about social problems. Whereas thinkers such as Marx and Weber had argued that such legal arrangements were a product of economic necessity to secure property rights and the autonomy of the individual, Unger shows that this liberal legal order emerged in Europe as a result of the indeterminate relations between monarchy, aristocracy, and bourgeoisie. It took the particular form that it did by emerging out of the long tradition of natural law and universality, rather than of necessity. This early work in historical analysis of law and legal thought laid the basis for Unger's contribution to the Critical Legal Studies movement. The movement itself was born in the late 1970s among young legal scholars at Harvard Law School who denounced the theoretical underpinnings of American jurisprudence, legal realism. The participants were committed to shaping society based on a vision of human personality without the hidden interests and class domination of legal institutions. Two tendencies of the movement developed, one, a radical indeterminacy that criticized law as meaning anything we want it to mean, and the other, a neo-Marxist critique that attacked legal thought as an institutional form of capitalism. Unger offered a third tendency, a constructive vision of rethinking rights based on individual emancipation and empowerment, and structural arrangements that would lend themselves to constant revision with the goal of creating more educational and economic opportunities for more people. He laid this out in The Critical Legal Studies Movement, which quickly earned him a following as the philosophical mentor and prophet of the movement. Economic thought At the center of Unger's thought about the economy is the commitment to reimagining and remaking the institutional arrangements of how humans produce and exchange. For Unger, economic institutions have no inherent or natural forms, and he rejects the necessitarian tendencies of classical and neo-classical economists, seeking instead alternatives to the arrangements of contemporary societies. In his writings, he has aimed to revise ideas on the importance of market economies and the division of labor in the workplace and national and global economies. Critique of economics Unger's critique of economics begins with the identification of a key moment in economic history, when the analysis of production and exchange turned away from social theory and engaged in a quest for scientific objectivity. In Unger's analysis, classical economics focused on the causal relations among social activities, which were connected with the production and distribution of wealth. Classical economists asked questions about the true basis of value, activities that contributed to national wealth, systems of rights, or about the forms of government under which people grow rich. In the late-nineteenth century, in response to attacks from socialist ideas and debates about how society works, and as a means to escape the conundrums of value theory and to answer how values could become prices, marginalist economics arose. This movement in economics disengaged economics from prescriptive and normative commitments to withdraw the study of economies from debates about how society worked and what kind of society we wanted to live in. For Unger, this moment in the history of economics robbed it of any analytical or practical value. Unger's critique of Marginalism begins with Walras' equilibrium theory, which attempted to achieve a certainty of economic analysis by putting aside normative controversies of social organization. Unger finds three weaknesses that crippled the theory: foremost, the theory claimed that equilibrium would be spontaneously generated in a market economy. In reality, a self-adjusting equilibrium fails to occur. Second, the theory puts forth a determinate image of the market. Historically, however, the market has been shown to be indeterminate with different market arrangements. Third, the polemical use of efficiency fails to account for the differences of distribution among individuals, classes, and generations. The consequences of the marginalist movement were profound for the study of economics, Unger says. The most immediate problem is that under this generalizing tendency of economics, there is no means by which to incorporate empirical evidence and thus to re-imagine the world and develop new theories and new directions. In this way, the discipline is always self-referential and theoretical. Furthermore, the lack of a normative view of the world curtails the ability to propose anything more than a policy prescription, which by definition always assumes a given context. The discipline can only rationalize the world and support a status quo. Lastly, Unger finds that this turn in economics ended up universalizing debates in macroeconomics and leaving the discipline without any historical perspective. A consequence, for example, was that Keynes' solution to a particular historical crisis was turned into a general theory when it should only be understood as a response to a particular situation. Reorientating economics Unger's vision of economics is that it cannot be unhinged from ideas about the individual and social life. Human activity and political organization must be incorporated into any analysis of trade and economies. In remaking the discipline, he calls for a return to the normative practice of classical economics but stripped of its necessitarian assumptions and typological references. The development of explanatory claims and prescriptive ideas are necessary. The discipline must connect the transformation of nature with that of society—the making of things with the reorganization of people. In Free Trade Reimagined: The World Division of Labor and the Method of Economics, he sets forth six ideas to begin thinking about economic activity. The problem of specialization and discovery. Competition comes to inhibit self transformation when trading partners are unequal but not radically unequal, for both are forced into cost cutting rather than innovating and increasing efficiency. The problem of politics over economics. The making and implementation of policy is not one of discovery, but rather of top down implementation. Rigid state control will limit how a society can respond to tensions and crisis, and thus politics creates its own presuppositions and limits creativity and alternative solutions. Free trade should strengthen the capacity for self transformation by organizing the trading regime in a way that strengthens the capacity of trading partners to experiment and innovate. It becomes question not of how much free trade, but what kind. The best arrangements are those that impose the least amount of restraint. Alternative free trade. The market has no necessary and natural form. If the market economy can be organized in a different way then so can a universal order of free trade among market economies. The division of labor remade. The pin factory organization of labor describes the organization of work as if labor were a machine. But we can make machines to do this work. We should then innovate in those areas where we don't yet know how to make the machine to do the work. Production should be one of collective learning and permanent innovation. Mind against context. The mind is both a machine and an anti-machine; it is both formulaic and totalizing. Thus we never rest in any context, and we need to have arrangements that constantly lend themselves to reinvention. Reconstructing economic institutions For Unger, the economy is not only a device for wealth but also permanent innovation and discovery. It should allow the greatest freedom of the recombination of people and resources, and allow people to innovate in institutional settings. The market economy should not be single dogmatic version of itself. Unger has presented a number of general institutional proposals that aim to restructure the world trade regime and introduce new alternatives in the market economy. For international and global trade, Unger calls for the need to experiment with different property rights regimes, where multiple forms will coexist in the same market system and not be tied to individual property rights and contractual labor. Generally, rather than maximizing the free trade as the goal, Unger sees the need to build and open the world economy in way that reconciles global openness with national and regional diversification, deviation, heresy, and experiment, where the idea is to support alternatives by making the world safer for them. For national economies, he rejects the need to require the free flow of capital, for there are times when it may be necessary to restrict capital flows. Rather, he puts the emphasis on the free flow of people. Labor should be allowed to move freely throughout the world. On the twenty-first-century economic stimulus Most recently, in a YouTube video titled he laid out three key policies to address the current economy: Change the arrangements of finance in relation to production so that finance is in the service of production. Tax and regulate to discourage finance that does not contribute to production. Use public capital for venture capital funds. Broaden economic opportunity by supporting small and medium enterprise. Reject the choice between government regulation and state controlled models. Support cooperation between government and firms, and cooperation and competition among firms. Education. A system of schools to meet needs of a vibrant and flexible economy. Vocational schools that teach general concepts and flexibility, not job-specific skills. "Illusions of necessity in the economic order" Unger's first writing on economic theory was the article "Illusions of necessity in the economic order" in the May 1978 issue of American Economic Review. In the article he makes a case for the need of contemporary economic thought to imitate classical political economy in which theories of exchange should be incorporated into theories of power and perception. The article articulates the problem of the American economy as one of the inability to realize democracy of production and community in the workplace. This failure, according to Unger, is the result of the lack of a comprehensive program that encompasses production, society, and state, so that immediate attempts to address inequality get swallowed up and appropriated by the status quo in the course of winning immediate gains for the organization or constituency, e.g. unions. To realize a democracy in the workplace and the abolition of wealth and poverty, Unger argues for the need to relate the program of worker community and democracy with an enlargement of democracy at the national level—the goal cannot be only one of economic production and worker's rights, but must be accompanied by a national project at the structural level. He pushes this idea further by calling not just for a restructuring of the relationship between the firm and state based on private property, but that it also has to be replaced with a new set of rights encompassing access to jobs, markets, and capital. Only as private rights are phased out can rights of decentralized decision making and market exchange be extended to workers. This needs to be accompanied by limits on the size of enterprise and how profits are used to control others' labor. Neoclassical economics is not up to this task because it begins with preconceived standards that it applies to explain empirical data, while leaving out that which is a theoretical anomaly; there is no causal basis of analysis, Unger says, rather everything is embedded in a timeless universal without any account for context. Furthermore, the ambiguity of concepts of maximization, efficiency, and rationalization pin the analysis to a certain notion of the behavior of the rationalizing individual, making the analysis either tautological or reduced to a set of power relations translated into the language of material exchange. Programmatic thought Key in Unger's thinking is the need to re-imagine social institutions before attempting to revise them. This calls for a program, or programmatic thought. In building this program, however, we must not entertain complete revolutionary overhaul, lest we be plagued by three false assumptions: Typological fallacy: the fallacy that there is closed list of institutional alternatives in history, such as "feudalism" or "capitalism". There is not a natural form of society, only the specific result of the piecemeal institutional changes, political movements, and cultural reforms (as well as the accidents and coincidences of history) that came before it. Indivisibility fallacy: most subscribers to revolutionary Leftism wrongly believe that institutional structures must stand and fall together. However, structures can be reformed piecemeal. Determinism fallacy: the fallacy that uncontrollable and little understood law-like forces drive the historical succession of institutional systems. However, there is no natural flow of history. We make ourselves and our world, and can do so in any way we choose. To think about social transformation programmatically, one must first mark the direction one wants society to move in, and then identify the first steps with which we can move in that direction. In this way we can formulate proposals at points along the trajectory, be they relatively close to how things are now or relatively far away. This provides a third way between revolution and reform. It is revolutionary reform, where one has a revolutionary vision, but acts on that vision in a sequence of piecemeal reforms. As Unger puts it, transformative politics is "not about blueprints; it is about pathways. It is not architecture; it is music". The two Lefts Unger sees two main Lefts in the world today, a recalcitrant Left and a humanizing Left. The recalcitrant Left seeks to slow down the march of markets and globalization, and to return to a time of greater government involvement and stronger social programs. The humanizing Left (or 'reformist Left') accepts the world in its present form, taking the market economy and globalization as unavoidable, and attempts to humanize their effects through tax-and-transfer policies. Unger finds the two major orientations of contemporary Leftism inadequate and calls for a 'Reconstructive Left' – one which would insist on redirecting the course of globalization by reorganizing the market economy. In his two books The Left Alternative and The Future of American Progressivism, Unger lays out a program to democratize the market economy and deepen democracy. This Reconstructive Left would look beyond debates on the appropriate size of government, and instead re-envision the relationship between government and firms in the market economy by experimenting with the coexistence of different regimes of private and social property. It would be committed to social solidarity, but "would refuse to allow our moral interests in social cohesion [to] rest solely upon money transfers commanded by the state in the form of compensatory and retrospective redistribution", as is the case with federal entitlement programs. Instead, Unger's Reconstructive Left affirms "the principle that everyone should share, in some way and at some time, responsibility for taking care of other people." The Left Alternative program Unger has laid out concrete policy proposals in areas of economic development, education, civil society, and political democracy. On economic development, Unger has noted that there are only two models for a national economy available to us today: the US model of business control of government, and the northeast Asian model of top down bureaucratic control of the economy. Citing the need for greater imagination on the issue, he has offered a third model that is decentralized, pluralistic, participatory, and experimental. This would take the form of an economy encouraging small business development and innovation that would create large scale self-employment and cooperation. The emphasis is not on the protection of big business as the main sectors of the economy, but the highly mobile and innovative small firm. Unger links the development of such an economy to an education system that encourages creativity and empowers the mind, not one that he now sees geared for a reproduction of the family and to put the individual in service of the state. He proposes that such a system should be run locally but have standards enforced through national oversight, as well as a procedure in place to intervene in the case of the failing of local systems. Unger's critique of and alternative to social programs goes to the heart of civil society. The problem we are faced with now, he claims, is that we have a bureaucratic system of distribution that provides lower quality service and prohibits the involvement of civil society in the provision of public services. The alternative he lays out is to have the state act to equip civil society to partake in public services and care. This would entail empowering each individual to have two responsibilities, one in the productive economy and one in the caring economy. Unger's proposal for political democracy calls for a high energy system that diminishes the dependence of change upon crisis. This can be done, he claims, by breaking the constant threat of stasis and institutionalization of politics and parties through five institutional innovations. First, increase collective engagement through the public financing of campaigns and giving free access to media outlets. Second, hasten the pace of politics by breaking legislative deadlock through the enabling of the party in power to push through proposals and reforms, and for opposition parties to be able to dissolve the government and call for immediate elections. Third, the option of any segment of society to opt out of the political process and to propose alternative solutions for its own governance. Fourth, give the state the power to rescue oppressed groups that are unable to liberate themselves through collective action. Fifth, direct participatory democracy in which active engagement is not purely in terms of financial support and wealth distribution, but through which people are directly involved in their local and national affairs through proposal and action. Theoretical philosophy At the core of Unger's theoretical philosophy are two key conceptions: first the infinity of the individual, and secondly the singularity of the world and the reality of time. The premise behind the infinity of the individual is that we exist within social contexts but we are more than the roles that these contexts may define for us—we can overcome them. In Unger's terms, we are both "context-bound and context-transcending; "we appear as "the embodied spirit;" as "the infinite imprisoned within the finite." For Unger, there is no natural state of the individual and his social being. Rather, we are infinite in spirit and unbound in what we can become. As such, no social institution or convention can contain us. While institutions do exist and shape our beings and our interactions, we can change both their structure and the extent to which they imprison us. The philosophy of the singularity of the world and the reality of time establishes history as the site of decisive action through the propositions that there is only one real world, not multiple or simultaneous universes, and that time really exists in the world, not as a simulacrum through which we must experience the world. These two concepts of infinity and reality lie at the heart of Unger's program calling for metaphysical and institutional revolutions. From the concept of the self as infinite but constrained, Unger argues that we must continually transform our environment to better express ourselves. This can only be done in a singular world within which time is real. The self and human nature In Passion: An Essay on Personality, Unger explores the individual and his relation to society from the perspective of the root human predicament of the need to establish oneself as a unique individual in the world but at the same time to find commonality and solidarity with others. This exploration is grounded in what Unger calls a modernist image of the human being as one who lives in context but is not bound by context. Unger's aim is to level a critique, expansion, and defense of modern thinking about the human and society. Religion and the human condition Unger has written and spoken extensively on religion and the human condition. Religion, Unger argues, is a vision of the world within which we anchor our orientation to life. It is within this orientation that we deal with our greatest terrors and highest hopes. Because we are doomed to die, we hope for eternal life; because we are unable to grasp to totality of existence or of the universe, we try to dispel the mystery and provide a comprehensible explanation; because we have an insatiable desire, we cry for an object that is worthy of this desire, one that is infinite. Humans initially invested religious discourse in nature and the human susceptibility to nature. But as societies evolved and people developed ways to cope with the unpredictability of nature, the emphasis of religion shifted to social existence and its defects. A new moment in religion will begin, Unger argues, when we stop telling ourselves that all will be fine and we begin to face the incorrigible flaws in human existence. The future of religion lies in embracing our mortality and our groundlessness. Unger sees four flaws in the human condition. They are, our mortality and the facing of imminent death; our groundlessness in that we are unable to grasp the solution to the enigma of existence, see the beginning or end of time, nor put off the discovery of the meaning of life; our insatiability in that we always want more, and demand the infinite from the finite; and our susceptibility to belittlement which places us in a position to constantly confront petty routine forcing us to die many little deaths. There are three major responses in the history of human thought to these flaws: escape, humanization, and confrontation. The overcoming of the world denies the phenomenal world and its distinctions, including the individual. It proclaims a benevolence towards others and an indifference to suffering and change. One achieves serenity by becoming invulnerable to suffering and change. The religion of Buddhism and philosophical thought of Plato and Schopenhauer best represent this orientation. The humanization of the world creates meaning out of social interactions in a meaningless world by placing all emphasis on our reciprocal responsibility to one another. Confucianism and contemporary liberalism represent this strand of thought, both of which aim to soften the cruelties of the world. The struggle with the world is framed by the idea that series of personal and social transformations can increase our share of attributes associated with the divine and give us a larger life. It emphasizes love over altruism, rejecting the moral of the mastery of self-interest to enhance solidarity, and emphasizing the humility of individual love. This orientation has been articulated in two different voices: the sacred voice of Judaism, Christianity, and Islam, and the profane voice of the secular projects of liberation. The religion of the future The spiritual orientation of the struggle with the world has given rise to the secular movements of emancipation in the modern world, and it is here that Unger sees the religion of the future. The problem Unger sees, however, is that as an established religion, this orientation has betrayed its ideological underpinnings and has made peace with existing order. It has accepted the hierarchies of class structure in society, accepted the transfer of money as serving as the basis of solidarity, and reaffirmed the basis of existing political, economic, and social institutions by investing in a conservative position of their preservation. Thus, "to be faithful to what made this orientation persuasive and powerful in the first place, we must radicalize it against both established institutions and dominant beliefs." Unger's call is for a revolution in our religious beliefs that encompasses both individual transformation and institutional reorganization; to create change in the life of the individual as well as in the organization of society. The first part of the program of individual transformation means waking from the dazed state in which we live our lives, and recognizing our mortality and groundlessness without turning to the “feel-good theologies and philosophies”. The second part of the program of social transformation means supplementing the metaphysical revolution with institutional practices by creating social institutions that allow us to constantly overthrow our constraints and our context, and to make this overthrow not a one time event but a continuing process. This is the program of empowered democracy that calls for reforms in the market economy, education, politics, and civil society. "The goal is not to humanize society but to divinize humanity." It is "to raise ordinary life to a higher level of intensity and capability." Natural philosophy Unger's philosophy of space and time presented in The Singular Universe and the Reality of Time argues for the singularity of the world and the reality of time. His arguments are grounded in the tradition of natural philosophy. He takes on the Newtonian idea of the independent observer standing outside of time and space, addresses the skepticism of David Hume, rejects the position of Kant, and attacks speculations about parallel universes of contemporary cosmology. At stake is the laying of the foundations for a view of the world and causality that is open to all possibilities; that is not a closed system of options in which our future is governed by deterministic laws and typologies. It is an understanding of society that rejects the naturalness and necessity of current social arrangements; "a form of understanding of society and history that refuses to explain the present arrangements in a manner that vindicates their naturalness and necessity." The thesis of the singularity of the world states that there is one real world. Such a thesis stands in stark contrast to contemporary theoretical physics and cosmology, which speculate about multiple universes out of the dilemma of how to have law like explanations if the universe is unique—laws will be universal because they don't just apply to this unique universe but to all universes. However, there is no empirical evidence for multiple worlds. Unger's singularity thesis can better address our empirical observations and set the conceptual platform to address the four main puzzles in cosmology today: Big Bang, initial conditions, horizon problem, and the precise value of constants, such as gravity, speed of light, and Planck's constant. The thesis that time is real states that time "really is real" and everything is subject to history. This move is to historicize everything, even the laws of nature, and to challenge our acting as if time were real but not too real—we act as if it is somewhat real otherwise there would be no causal relations, but not so real that laws change. Unger holds that time is so real that laws of nature are also subject to its force and they too must change. There are no eternal laws upon which change occurs, rather time precedes structure. This position gives the universe a history and makes time non-emergent, global, irreversible, and continuous. Bringing these two thesis together, Unger theorizes that laws of nature develop together with the phenomenon they explain. Laws and initial conditions co-evolve, in the same that they do in how cells reproduce and mutate in different levels of complexity of organisms. In cosmological terms Unger explains the passing from one structure to another at the origins of the universe when the state of energy was high but not infinite, and the freedom of movement was greater than when operating under a known set of laws. The conditions of the early universe is compatible with the universe that preceded it. The new universe may be different in structure, but has been made with what existed in the old one, e.g. masses of elementary particles, strength of different forces, and cosmological constants. As the universe cools the phenomena and laws work together with materials produced by sequence; they are path dependent materials. They are also constrained by the family of resemblances of the effective laws against the background of the conceptions of alternative states the universe and succession of universes. Mathematics and the one real, time-drenched world One consequence of these positions that Unger points to is the revision of the concept and function of mathematics. If there is only one world drenched in time through and through, then mathematics cannot be a timeless expression of multiple universes that captures reality. Rather, Unger argues that mathematics is a means of analyzing the world removed of time and phenomenal distinction. By emptying the world of time and space it is able to better focus on one aspect of reality: the recurrence of certain ways in which pieces of the world relate to other pieces. Its subject matter are the structured wholes and bundles of relations, which we see outside mathematics only as embodied in the time-bound particulars of the manifest world. In this way, mathematics extends our problem solving powers as an extension of human insight, but it is not a part of the world. Political engagement Unger has a long history of political activity in Brazil. He worked in early opposition parties in the 1970s/80s against the Brazilian military dictatorship, and drafted the founding manifesto for the Brazilian Democratic Movement Party (PMDB) in 1980. He served as an intimate adviser to two presidential candidates, and launched exploratory bids himself in 2000 and 2006. He was the Secretary for Strategic Affairs in the Lula administration from 2007–09, and is currently working on a number of social and developmental projects in the state of Rondônia. Driving Unger's political engagement is the idea that society can be made and remade. Unlike Mill or Marx, who posited a particular class as the agent of history, Unger does not see a single vehicle for transformative politics. He advocates world-wide revolution, but does not see this happening as a single cataclysmic event or undertaken by a class agent, like the Communist movement. Rather, he sees the possibility of piecemeal change, where institutions can be replaced one at a time, and permanent plasticity can be built into the institutional infrastructure. Early political activity, 1970s and 1980s Unger's engagement in Brazilian politics began in the late 1970s as Brazil started to democratize. In 1979, he presented himself to the main opposition party, the Brazilian Democratic Movement (MDB), and was appointed chief of staff by party leader Ulysses Guimaraes. His initial work was to develop the positions of the party and draft policy proposals for their party's congressional representatives. When the military regime dissolved the two-party system and established a multi-party system later that year, Unger worked to unite progressive liberals and the independent, non-communist left into the Brazilian Democratic Movement Party (PMDB). As a co-founder of the party, he authored its first manifesto. Unger left the party after the rise of a conservative faction, which was a part of the MDB but had been excluded from the initial formation of the PMDB. After departing the PMDB in the early 1980s, Unger began looking for political agents who would serve as vehicles for his national alternative. In 1981, he jointed the Democratic Labour Party of Brazil (PDT) led by Leonel Brizola, a former governor of Rio de Janeiro and a figure of the left prior to the dictatorship. Brizola had founded the PDT and Unger saw it as the authentic opposition to the military regime. Throughout the 1980s he worked with Brizola to travel the country recruiting members, and developing policy positions and a political language. In 1983, Brizola, then serving his second of three terms as governor of Rio de Janeiro, appointed Unger to head the State Foundation for the Education of Minors (FEEM), a state-run foundation for homeless children. During his year-long tenure, he began a process of radical reforms of the institutions, such as opening the door to international adoption and reintegrating children with their families. He also set up community organizations in the slums to help support families in order to prevent the abandonment of children. Political campaigns, 1990s and 2000s In 1990, Unger ran a symbolic campaign for a seat in the national chamber of deputies. He had no money, no structure, and only campaigned for eight weeks. He ran on a platform of reforming the slums, and went around the slum neighborhoods giving lectures. He received 9,000 votes, just 1,000 votes short of winning the seat. None of the votes came from the slums, however. All his votes had come from the middle class, although he had never campaigned in those neighborhoods or to that constituency. Recalling the experience, Unger says "it was kind of absurd... I had no money, no staff, and I would go into these slums, alone, to hand out pamphlets, often to the local drug pushers." It is an experience that Unger cites as leading to his belief that the system and possibilities were much more open than he had previously imagined. Unger served as Brizola's campaign organizer and primary political adviser in his bids for the Brazilian Presidency in 1989 and 1994. In 1989, Brizola finished in third place, losing the second position, which would have qualified him for a runoff against Fernando Collor de Mello, by a very narrow margin to Luiz Inácio Lula da Silva. Brizola and Unger both supported Lula in the second round of the election, but Collor would go on to beat Lula and win the Presidency. Unger also helped organize the presidential bids of former finance minister and governor of Ceará, Ciro Gomes, in 1998 and 2002. In 1998, Gomes came in third place with 11% of the vote, and in 2002 he came in fourth place with 12% of the vote. Unger had written The Next Step: An Alternative to Neoliberalism with Gomes in 1996. At the national level in 2002, again in the second round of the election, Unger supported Lula who went on to defeat José Serra to win the Presidency. With the experience of supporting others who imploded politically, Unger discovered that, as he put it, he was committing "the classic mistake of the philosophers in politics, which is to try to find someone else to do the work." In 2000, he ran in the primaries for the mayor of Sao Paulo, but the PPS party leader suspended the primaries when it became clear that Unger would win the nomination and challenge party control. He launched an exploratory bid for the 2006 presidential election on the PRB ticket, but the party decided not to put forth its own candidate for the presidency and to support Lula of the PT. As Minister of Strategic Affairs in the Lula administration Unger found President Lula's first term to be conservative and riddled with scandal. He wrote articles calling Lula's administration "the most corrupt of Brazil's history" and called for his impeachment. Despite the criticism, many advisers to Lula insisted that he should invite Unger to join his administration. In June 2007, after winning his second term, Lula appointed Unger as head of the newly established Long-term Planning Secretariat (a post which would eventually be called The Minister of Strategic Affairs). Unger's work in office was an attempt to enact his program. Seeing the future in small enterprises and advocating a rotating capital fund that would function like a government run venture capital fund, he pushed for a rapid expansion of credit to smaller producers and a decentralized network of technical support centers that would help broaden the middle class from below. He further called for political solutions that would broaden access to production forces such as information technology, and for states to focus on equipping and monitoring civil society rather than trying to provide social services. Unger's specific projects while in office were focused on giving "ordinary men and women the instruments with which to render this vitality fertile and productive." He aimed to use state powers and resources to allow the majority of poor workers to "follow the path of the emergent vanguard". He developed a series of sectoral and regional initiatives that would prefigure the model of development based on the broadening of economic and educational opportunity by democratizing the market economy and restructuring civil society. Sectorally, Unger revamped the educational structure and rewrote labor laws. In education, he implemented a model of secondary education, where analytical problem-solving education was paired with technical education that focused on conceptual capabilities rather than job-specific skills. There are several hundred of these institutions today. He further drafted legislation to associate national, state and local jurisdictions into common bodies that could intervene when a local school system fell below the minimum acceptable threshold of quality and "fix it the way an independent administrator would fix a failing business under Chapter 11 bankruptcy." In labor, Unger worked with unions to write new labor laws designed to protect and organize temporary workers, subcontractors, and those working in the informal economy. Regionally, some of Unger's most influential work was the implementation of a developmental strategy for the Amazon that would be sustainable environmentally by making it socially inclusive. He drafted and passed legislation to regularize small-scale squatters on untitled land by giving them clear legal titles, which would create self-interest in preservation while granting them economic opportunity. Included in this law were protections against large scale land grabbers. Such legislation aimed to empower locals living on Amazonian land by giving them ownership rights and linking their interest in preserving it, rather than pillaging it as quickly as possible in the face of ambiguous ownership rights. This legislation passed and was put into law. Unger served in the administration for two years. On 26 June 2009, President Lula announced Unger would be leaving the government and returning to Harvard University. He later cited personal and political reasons for his early departure. Engagement outside Brazil Unger's attempts to develop global social, political, and economic alternatives have led him in episodic engagements in national debates around the world. His approach in these engagements recognizes that the problems facing contemporary societies are not distinct from nation to nation, and that general structural arrangements can first be implemented, which will allow for local innovation, flexibility, and development in social, economic, and political arenas. There is no institutional blueprint for Unger, however, only a direction that can be pointed to and general proposals that can be implemented to allow further institutional innovation and experimentation. Unger's guiding principle is that institutional flexibility needs to be built into the implemented system, and in this way a diversity of local experiments would take hold the world over. One of Unger's more promising engagements was the Latin American Alternative in the late 1990s. Unger and Mexican politician and political scientist Jorge Castañeda Gutman assembled an informal network of politicians and business leaders dedicated to redrawing the political map. The aim of the group was to provide a critique of neoliberalism coupled with a way forward in a distinct strategy and institutional model of development. They floated proposals such as guaranteeing every citizen "social rights" (e.g. education and a job), breaking up media oligopolies, and holding town meetings to help citizens supervise municipal spending. The group held a number of meetings over the years, which included Brazilian finance minister Ciro Gomes, Chilean senator Carlos Ominami, Argentinian politicians Dante Caputo and Rodolfo Terragno, and Mexican politician and future president Vicente Fox. The meetings resulted in a document entitled the "Buenos Aires Consensus" in 1997, which Castaneda called "the end of neoliberalism; of the Washington Consensus". This consensus was formally signed in 2003 by Argentinian President Néstor Kirchner and Brazilian President Lula da Silva. Other Latin American leaders who signed it included Fox, future president of Chile Ricardo Lagos, Mexican politician Cuauhtémoc Cárdenas, former vice president of Nicaragua Sergio Ramírez, future president of Argentina Fernando de la Rúa, and former Brazilian president Itamar Franco. During the 2008 US presidential campaign, Unger was in frequent contact with candidate Barack Obama via email and Blackberry. He has since become critical of the Obama administration, and called for the defeat of Obama in the 2012 election as a first step to remaking the Democratic party. Current engagement Unger's recent political work has focused on the north-western Brazilian state of Rondônia. He sees the human and natural resources of the state meeting all the conditions to serve as the vanguard of a new model of development for Brazil. Speaking to News Rondônia he said, "Rondônia is a state formed by a multitude of small and medium entrepreneurs together with the Brazilian government, and that is something truly unique in our country." He has been traveling the state giving public lectures and encouraging political discourse and engagement in localities. Working with governor João Aparecido Cahulla on development projects, Unger has outlined a series of important areas of focus. The first is to change the agricultural model from one of intensive farming to an industrialization of produces through the recuperation of degraded pastures, supply fertilizers and lime, and diversifying crops and livestock farming. The second key project is transforming education from rote learning to creative thinking and engagement. He helped open the School Teixeira in Porto Velho. Another ongoing project is the construction of a new educational center in accordance with his theory of pedagogical reform, where delinquents would be reintegrated into municipal life. Circumstance and influence Unger's philosophical work grapples with some of the most fundamental and enduring problems of human existence. It has been put into direct dialogue with Kant's moral law, and said to have provided one answer to Hume's Guillotine. Unger's analysis of liberalism and the philosophical program he builds around rethinking the individual has also inspired new thinking and approaches to psychiatry. In 1987, the Northwestern University Law Review devoted an issue to Unger's work, analysing his three volume publication Politics: A Work In Constructive Social Theory. Michael J. Perry, a professor of law at Northwestern University, praises Unger for producing a vast work of social theory that combines law, history, politics, and philosophy within a single narrative. Early reviewers of Politics questioned Unger's seeming predicament of criticizing a system of thought and its historical tradition without subjecting himself to the same critical gaze. "There is little acknowledgement that he himself is writing in a particular socio-historical context", wrote one reviewer, and another asked, "in what context Unger himself is situated and why that context itself is not offered up to the sledgehammer." Critics also balked at the lack of example or concrete vision of his social and political proposals. As one critic wrote, "it is difficult to imagine what Unger's argument would mean in practice", and that "he does not tell us what to make." Others have suggested that the lack of imagination of such readers is precisely what is at stake. Books Knowledge and Politics, Free Press, 1975. Law In Modern Society: Toward a Criticism of Social Theory, Free Press, 1976. Passion: An Essay on Personality, Free Press, 1986. The Critical Legal Studies Movement, Harvard University Press, 1986. Politics: A Work In Constructive Social Theory, Cambridge University Press, 1987, in 3 Vols: Vol 1 - False Necessity: Anti-Necessitarian Social Theory in the Service of Radical Democracy. Vol 2 - Social Theory: Its Situation and Its Task - A Critical Introduction to Politics: A Work in Constructive Social Theory. Vol 3 - Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success. What Should Legal Analysis Become?, Verso, 1996 Politics: The Central Texts, Theory Against Fate, Verso, 1997, with Cui Zhiyuan. Democracy Realized: The Progressive Alternative, Verso, 1998. The Future of American Progressivism: An Initiative for Political and Economic Reform, Beacon, 1998 - with Cornel West What Should the Left Propose?, Verso, 2006. The Self Awakened: Pragmatism Unbound, Harvard, 2007. Free Trade Reimagined: The World Division of Labor and the Method of Economics, Princeton University Press, 2007. The Left Alternative, Verso, 2009 (2nd edition to What Should the Left Propose?, Verso, 2006.). The Religion of the Future, Harvard, 2014. The Singular Universe and the Reality of Time, Cambridge University Press, 2014, with Lee Smolin. The Knowledge Economy, Verso, 2019. See also False necessity Formative context Negative capability Empowered democracy Structure and agency Passions References External links Roberto Unger's Harvard Homepage Links to Unger's works via his homepage An interview with Unger on the American Left Biographical articles about Roberto Unger Guggenheim Gives Fellowships for '76: Unger Gets Tenure, Too (The Harvard Crimson April 5, 1976) "The Passion of Roberto Unger" , Eyal Press, (Lingua Franca, March 1999) Carlos Castilho, "Brazil's Consigliere: Unger Leaves Lectern to Stand Behind the Throne." (World Paper, April 2000) Simon Romero, "Destination: São Paulo" (Metropolis, October 2000) This article is about São Paulo, Brazil, but it has a lengthy discussion of Unger's political activism there and many quotes from Unger. Meltzer Elected to American Academy of Arts and Sciences (HLS News May 13, 2004) (First of the Month, July 1, 2012) 1947 births 20th-century Brazilian male writers 20th-century Brazilian philosophers 20th-century economists 20th-century essayists 21st-century Brazilian male writers 21st-century economists 21st-century essayists 21st-century philosophers Analytic philosophers Anti-poverty advocates Brazilian activists Brazilian essayists Brazilian expatriate academics in the United States Brazilian people of German descent Brazilian social scientists Critical legal studies Cultural critics Epistemologists Ethicists Futurologists Government ministers of Brazil Harvard Law School alumni Harvard Law School faculty Living people Metaphilosophers Metaphysicians Moral philosophers Ontologists People from Rio de Janeiro (city) Philosophers of culture Philosophers of economics Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of law Philosophers of mathematics Philosophers of religion Philosophers of science Philosophers of social science Philosophers of technology Philosophy of life Philosophy of time Philosophy writers Political philosophers Politicians from Cambridge, Massachusetts Pragmatists Brazilian social commentators Social critics Social philosophers Social theories Theorists on Western civilization Writers about activism and social change Writers about globalization
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[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]